Top Tag Tuesday

It’s a wintry, widgety, wonderful week on the Flickrverse and amongst the millions of photos uploaded a few emerging tags reigned supreme last week. For #TopTagTuesday we’re digging in and highlighting some of the most beautiful photos of the trends.

All of the following tags have one thing in common – the subjects are made more beautiful by shooting in black and white. The BNW tag is trending because of the photographs in the winter, urban, metallic, and Macro Monday themes that were made more dramatic by removing the color.

Masha Mirian and Zeke
Black Velvet

The German word for ice was trending because of the particularly beautiful and snowy scenery. Weather throughout the week was wrought with ice, fog, and snow that left some beautiful scenes for Flickr photographers to capture.

frozen silk
Frozen Danube

Urban Exploration groups blew up this week with gorgeous and abandoned spaces. Broken windows, staircases, and vacant ballrooms galore!

Curves and Glass
when the lights go down

The Macro Monday Group’s theme this week was ‘Contraption’ and many of the submissions also tagged metal or mechanical terms to go along with it. While Explore can be dominated with MacroMonday themed shots Sunday through Tuesday, these tags all go together. Check out the group for more high-quality shots of metallic contraptions.

Macro Monday Contraption
Les perspectives dépravées

Uncanny Photos Taken in the Dead of Night

Sapersteins, 2015 © David Allee, courtesy Morgan Lehman Gallery

Ball Court, 2016 © David Allee, courtesy Morgan Lehman Gallery

Time passes differently at night; it halts, speeds up, moves backwards. Photographer David S. Allee visualizes the strange eternity of darkness in Chasing Firefly, now on view at Morgan Lehman Gallery.

Like Cross Lands, the artist’s 2006 show at the same gallery, Chasing Firefly comprises long-exposure photographs taken after dark. This time, Allee embarked on a kind of homecoming, circling back to sites in New York and the Berkshires where he had spent time as a boy. Included is a picture of the exact spot where he first learned how to swim.

Allee, now a father himself, steps back into his own childhood, bringing with him all the wisdom and experience that comes with age. While nostalgia runs through Allee’s sleepy scenes, he’s never sentimental. There’s wonder and delight in the darkness, but there’s also real anxiety.

People sit ready to watch fireworks, though none yet illuminate the sky. These aren’t the moments in which things happen; they’re the instants right before. The sun will rise eventually, but until then, everything remains uncertain. Anticipation grows to become either excitement or fear, depending on the picture and the person looking at it.

Ultimately, Chasing Fireflies, as its name would suggest, is not about darkness as much as it is about light. We come for the mystery and suspicion of nightfall, but we stay for the things that guide us home: the neon lights, the car headlights, and the moonlight brushed across the time-worn landscape.

Chasing Firefly is at Morgan Lehman Gallery until February 4th, 2017. The artist will sign books on the 2nd.

Art We All One, 2016 © David Allee, courtesy Morgan Lehman Gallery

Fireworks, 2016 © David Allee, courtesy Morgan Lehman Gallery

Long Building, 2016 © David Allee, courtesy Morgan Lehman Gallery

Practice Field Below, 2016 © David Allee, courtesy Morgan Lehman Gallery

Understanding, 2016 © David Allee, courtesy Morgan Lehman Gallery

Wind Along the River, 2016 © David Allee, courtesy Morgan Lehman Gallery

Swimming Area, 2016 © David Allee, courtesy Morgan Lehman Gallery

The post Uncanny Photos Taken in the Dead of Night appeared first on Feature Shoot.

Dana Tanamachi’s creates stunning nature-inspired pieces for Instagram headquarters

Dana Tanamachi's creates stunning nature-inspired pieces for Instagram headquarters

When I think of the most talented people in lettering my list includes Louise Fili, Jessica Hische, Erik Marinovich, Gemma O’Brien, and of course the incredible Dana Tanamachi. It’s been a joy to watch her work grow and evolve on Instagram as she handles immense murals, covers for books and magazines, and so much more. Very recently she completed a stunning triptych for the Instagram HQ which speaks to the growth of the platform over the years.

“This triptych was created by hand-cutting adhesive stencils, meticulously placing them on the birch boards, then painting a gradient on top of everything, and finally peeling off the stencils to reveal the beautiful woodgrain below.”

Dana Tanamachi's creates stunning nature-inspired pieces for Instagram headquarters

This first design illustrates IG’s infancy—strengthening/connecting roots, giving voices, and cultivating simplicity. The flowers shown here are a mix of the earliest spring flowers and oak leaves/acorns. The latter of which are tiny things that have the potential to create entire forests.

Dana Tanamachi's creates stunning nature-inspired pieces for Instagram headquarters

This middle design illustrates IG’s adolescence—connecting voices, creating empathy (the stems intersect like two clasped hands), and bringing communities and cultures together. The flowers shown all bloom in midsummer.

Dana Tanamachi's creates stunning nature-inspired pieces for Instagram headquarters

This final design radiates from the center (expanding, growing, exploring) using a variety of wildflowers, symbolizing the the beauty and wild-ness a future full of possibilities holds.

Lovely work, as always.

The Ready-made Dream No One Believes In

In Europe and the United States, Stéphane Duroy charts the course of “big” history.

By Wilco Versteeg

Stéphane Duroy, spread from the book Unknown, 2015

Stéphane Duroy, spread from the book Unknown, 2015
© the artist

Again and Again, Stéphane Duroy’s solo exhibition at Le Bal in Paris, arrives at the right time in history. Having won several World Press Photo awards in the late 1980s and early ’90s, Duroy has become an integral voice in documentary photography, defined by books like Distress (2011) and L’Europe de Silence (1979–89). His artistic development culminates in Unknown (2007–17), an ongoing attempt to exhaust the documentary, artistic, and political possibilities of his work. Seeing Again and Again, the first comprehensive exhibition to present Duroy’s work, is like being taken by the hand on an impressionistic journey through the decline of Europe and the United States.

Stéphane Duroy, Bradford, 1981 from Distress © Stéphane Duroy

Stéphane Duroy, Bradford, 1981, from Distress
© the artist

Duroy was born in 1948 in Tunisia, then a French colony, and his life coincides with the major moments of postwar European history. He took up photography in the late 1960s as a means to document national and international upheavals. But Duroy has shied away from exhibitions, instead preferring to share his vision in books that focus on political change in the ’70s in Great Britain, Germany, Eastern Europe, and the United States. Inspired by the writings of Bertolt Brecht, Franz Kafka, and William Faulkner, Duroy’s theme is how “big” history—from World War I to the Holocaust to the end of Communism—is reflected in the daily lives of common people. The title of the exhibition, Again and Again, as well as the character of his work, underscores his historical fatalism. Duroy witnesses the societies of Thatcherite Great Britain, post-communist Eastern Europe, as well as contemporary America, in particular the downtrodden victims of capitalism’s excess, yesterday and today.

Stéphane Duroy, Manhattan, New York, 2004, from États-Unis © the artist and courtesy LE BAL

Stéphane Duroy, Manhattan, New York, 2004, from États-Unis
© the artist

The first part of the exhibition contains Duroy’s earlier work on the waning of Europe. The gallery walls are covered in demure gray wallpaper with a Second Empire pattern, a motif that returns in pictures such as one showing a chandelier in an abandoned hall in Portugal. One of his most striking pictures shows the falling of the Berlin wall. That epochal event is typically represented by images in which the wall is demolished by a jubilant crowd. Duroy, who has spent extensive periods of time in Berlin, managed the capture the wall while it was falling and suspended in midair; strangely, there are no people in sight. “In 1979, West Berlin became the link between cause and effect, the place where decisions were made about the major tendencies which have created the European tragedy and called our cherished values into question,” Duroy said last year. “Then from 1984 onward, the United States, splendid symbol of hope and great ready-made dream which nobody believes in, closed the circle.”

Stéphane Duroy, spread from the book Unknown, 2015

Stéphane Duroy, spread from the book Unknown, 2015
© the artist

Duroy is a historical pessimist, but this pessimism drives him forward. The forces of history inevitably lead to the trampling of humanity, but Duroy tries to restore this humanity in his latest, ongoing project Unknown, to which the exhibition’s second part is dedicated. Unknown is a Tentative d’épuisement d’un livre, or, in the official translation that reduces the philosophical feel of the original French, “The endless reworking of a book.” (I would have suggested, “Attempt at the exhausting of a book.”) Unknown, begun in 2007, is an impressive twenty-two-foot foldout catalog and an exhibition in of itself. Le Bal presents twenty-nine different versions: Over the last decade, Duroy has reworked Unknown, adding, removing, or manipulating its pages to constantly create new forms and juxtapositions.

Stéphane Duroy, Billings, Montana, 2003 from États-Unis © Stéphane Duroy

Stéphane Duroy, Billings, Montana, 2003, from États-Unis
© the artist

Duroy no longer describes himself as a documentary photographer, but there is an undeniably documentary impulse at work; while he adds newspaper clippings, paint, and text, his own images remain the groundwork of Unknown. This manic—indeed, exhausting—search for a form that fits our age of economic displacement finds its culmination in his pictures of life in Butte, Montana, a former mining community. One of Duroy’s pictures features a house reminiscent of any of Walker Evans’s images of small houses and barns in decline, except that the house Duroy photographed is on wheels and is being driven to another, perhaps better place. In Duroy’s universe, there is no stability, only, as he says, a “closed theater” of struggles between power and failure, hope and duplicity.

Wilco Versteeg is a PhD candidate at Université Paris Diderot.

Stéphane Duroy: Again and Again is on view at Le Bal, Paris, through April 9, 2017.

The post The Ready-made Dream No One Believes In appeared first on Aperture Foundation NY.

MTRL Kyoto: a 120-year old studio converted into a coworking space

the co-working space MTRL Kyoto (photos courtesy Fumihiko Sano)

Need an hour, a day, or even longer to work on a creative project, or make a presentation to a client? If you’re based in Kyoto you’re in luck because just the space exists. MTRL Kyoto is a co-working space that packs laser cutters, 3D printers and other tools, as well as meeting rooms that seat 10, 30 and 40 people.

MTRL Kyoto opened a little over a year ago in December of 2015. The co-working space occupies a large, 3-story building along a backstreet off Kawahara-Gojo in Kyoto. In a previous life the space was once a print factory, and also a furniture shop. But it was reborn at MTRL Kyoto thanks to architect Fumihiko Sano, who explained that one of his primary goals was to embrace the original charm of this old building.

The original structure was built in giyofu, a style if Japanese architecture that mimicked Western-style architecture. Sano preserved much of the braided bamboo plaster walls and added traditional latticework on the ground floor, which emulates its local Kyoto surroundings but also allows pedestrians to peer inside.

detail of the preserved bamboo walls

the cafe counter on the ground floor

For creatives looking for flexible work or presentation spaces, MTRL Kyoto is available beginning at just 500 yen for 45 min. Or you can stay and work the whole day for just 1800 yen. Additional costs apply for the various printers, cutters and other tools, which can be reserved ahead of time if, for example, you know you need to make a prototype.

the 1st floor lounge seats up to 40

And the space has the word “material” in its name for a reason. “At MTRL we’ve collected a broad and continuously expanding catalogue of materials, from traditional Japanese woods, metals, fabrics, and papers to the latest sensors, modules and other new technology. The most exciting part for us, though, is seeing how those materials change and become objects in the hands of creators and designers.”

Jealous? A similar space opened in Tokyo in mid-2016. Both are run and operated by Loftwork, who also operates the FabCafes.

stairs lead up to the 2nd floor

the 2nd floor work space seats up to 30

A Month of Minimalism / Marie Verdenius on minimalism in food

Food stylist, writer and photographer Marie Verdenius with a must-follow Instagram, has a particularly unique simplified style with food. With the thousands of recipes and food images we see on Pinterest I find it very refreshing to see food portrayed in such a stripped down, soothing approach. I had the pleasure of talking with Marie about her relationship with food and how a great meal can come from just a single ingredient as we draw near to wrapping up A Month of Minimalism.

How would you describe your personal relationship with Minimalism?

I think there is a lot of beauty in the simplest things that surround us every day. I am certainly drawn to minimalism, but I believe it is important that it still feels comfortable and warm. Minimalism can often be interpretated as cold or unpersonal. For me it means focusing on the basics, but with an eye for detail and design.

In regards to food, do you apply minimalist values to the way you shop and prepare food?

When it comes to food, I pay a lot of attention where the ingredients are produced or where it’s been made. Like bread for instance. I rarely bake it myself, so I love visiting artisanal bakery shops where you get a glimpse of how they work. Two of my favorite shops in Amsterdam have adjacent bakeries and it is such a joy to see how much love the bakers put in it to create their pastry, baguettes or sourdough loaves. I like to capture this love in my photography and styling just by using only the product and only a few props.

How much does sustainability and even managing waste play a part in your relationship with food?

I think sustainability and no waste are very important when it comes to food. I tend to buy most of it at organic shops and local producers. Luckily I live in an area where I have good access to these kind of products. I also try to only buy what’s necessary, but to be frank, sometimes I simply can’t prevent it to end up in the bin…

Some people prefer rarely to eat and opt for cooking all their own meals in order to have complete control over how their meals are prepared, while others rarely keep food in their kitchens and love having a meal prepared for them by someone else. Do you enjoy eating at a restaurant or making your own meals? 

I love both! Cooking after work can be a real challange at some times, because I don’t want it to be too complicated. But I do believe it is important to eat food that is good for the body and soul. It does not always have to be healthy, as long as you enjoy eating it! I especially like cooking for friends and family, it makes me forget about things and just focus on preparing a nice meal.

Eating outdoors is also something I really enjoy. In my hometown Amsterdam there are so many places to have good food, it is unbelievable! I have a few classics I always visit, but maybe even more new ones I need to make reservations for.

What sort of tips or advice would you give to people to want to eat more simply but not necessarily boring? How can people learn to find and appreciate the beauty in simple foods.

I would say not to complicate things too much. Everybody has specific ingredients that they really love and if you like to cook you are probably already able to make something really delicious with it.
Take out one of those ingredients, like for instance sweet potato, and search for new simple recipes. Maybe you normally roast them in the oven with some rosemary, but what if you use them in a lentl soup, serve them as a puree side dish or combine them with chicken and thyme in a tray bake? There are so many ways to cook wonderful things with only five or six ingredients, so I’d say search for it on the internet, in cookbooks, or just ask your local supplier to give you some tips.

Are there other aspects of your life that you would relate to your food styling or with minimalism in general? Do you have a minimal wardrobe or have any personal values where less is more for you?

When it come to minimalism I’d say my interior is quite basic. I love natural tones and materials combined with hints of black and lot of white. I don’t need a lot of stuff anyway, I simply want to invest in beautiful design, which does not mean it has to be expensive. Just look around in second-hand shops, they are the best when it comes to finding unique items!

The last couple of years I’ve moved house three times and every time I brought things I did not need anymore to second hand shops or give them away to friends. I also love the concept of a sharing economy, we simply don’t need it all.

My wardrobe reflects the love for simple designs, natural colours and pure, soft materials. I rarely buy at big warehouses anymore, but search for more ‘green’ and fair options. Thankfully in The Netherlands there are quite a few sustainable brands.

Type@Cooper West 2017 programming kicks off tonight

Have you made “attend more type events” one of your 2017 resolutions? Lucky for you there are a lot of them happening in San Francisco this year. Recently we told you about the TypeThursday meetups, but if lectures are more your style, you won’t want to miss the series Type@Cooper West has in store this year.


Jessica Hische launches the 2017 talks with “Art as Therapy” tonight from 6–7:30 p.m. Her talk sold out quickly, but there will be a dozen great lectures this year. 

The winter series also includes “Highlights of a Lifelong Obsession with Letterforms” from Jim Parkinson on February 15, a to-be-announced talk on March 7, and “Design History as a Model for Contemporary Practice” with Alexander Tochilovsky on March 21.

Mark your calendars for these other dates this year as well and stay tuned as speakers and topics are announced — we’ll keep you posted here and on Twitter.

  • June 6 & 20
  • July 11 & 18
  • September 19
  • October 3 & 17
  • November 7

Typekit is pleased to sponsor this series, which takes place at the Koret Auditorium at the San Francisco Public Library Main Branch, 100 Larkin Street. You can watch videos of the 2016 lectures here.

Type@Cooper West Workshops

In addition to the lecture series, Type@Cooper West is hosting several upcoming workshops for those who want to further expand upon their typographic skills.

Students looking to deep-dive into type education can sign up for two different 10-week workshops this winter. Carl Crossgrove teaches Principles of Typeface Design: An Introduction from February 9 through April 13, for those who want to learn how to design their own typeface. For those who work in both the analog and digital realms, James Edmonson instructs Introduction to Hand Lettering from February 6 to April 10.

If you’re more of a weekend type warrior, never fear. Get groovy with Carl Rohrs at the Psychedelic Calligraphy – Written & Cut workshop on February 11 & 12, explore Responsive Design & Web Typography with Nick Sherman on February 18 & 19, line up with Tânia Raposo at Grids & Grits March 4 & 5, or look closer with Alexander Tochilovsky at Micro Typography on March 18 & 19.

Graduate Exhibition

Finally, Dependable Letterpress, Inc. & Negative Space Gallery in San Francisco will host an exhibition featuring the work of the talented designers who just graduated the inaugural Type@Cooper West program: Angy Che, Camille Sibucao, Damon Styer, Dave Bailey, Gen Ramirez, Kim Rhee, Lauren Hostetter, Shannon Miwa, Sonja Hernandez & Winston Scully. 

We’re proud to support the opening reception for this showcase on February 9th from 6-9 p.m. at 1192 Illinois St. in SF.

As always, feel free to say “hey” to any of us Typekit folks if you see us at any of these events!

New in the Colossal Shop: Calamityware Mugs

Retired graphic designer Don Moyer has found a delightful second career illustrating and designing a line of charmingly calamitous products to help you keep your woes in perspective. The Calamityware Mug Set, newly available in The Colossal Shop, features four identical mugs glazed with Don’s illustrations. Riffing on traditional Blue Willow porcelain patterns, the Calamityware mugs slyly integrate some unlikely and unwelcome visitors. Watch out for UFOs, a zombie poodle, aggressive pterodactyls, and, perhaps most fearful of all, the Unpleasant Blob Creature. Each porcelain mug holds 12 ounces and is made at the award-winning Kristoff Porcelain workshop in Poland. The set includes four mugs because as we all know, misery loves company.

Telling time with VOID


An independent watch brand started by Swedish designer David Ericsson in 2008, VOID makes telling time an incredibly stylish affair. Their imagery and clock designs use simple designs to honor their Swedish heritage. While I normally choose very subtle colors, often ending up with black, grey or beige, this time I fell for a deep dark mossy green band and gold face.

Check out more of their clever designs, here.