Graphic design is all about solving problems and making things functional and easy to understand, and wayfinding materials such as signs and maps aren’t the exception. In fact, they’re the rule. If the information is wrong or misunderstood, there can be deadly consequences. But not all maps are life and death. Some can be really fun while providing factual information, such as maps for parks, playgrounds, museums, and more.
One company that knows how to put the fun in mapmaking is Visual Maps based in Copenhagen, Denmark. They’ve designed colorful, richly detailed maps for parks all over the globe for the past 20 years. “It started with an illustration for a DUPLO universe on a LEGO package I did, which was spotted in Legoland, which then commissioned me to do their park map,” explains founder and creative director Mads Berg. Since then, they’ve designed all the Legoland parks worldwide, and have specialized in park maps since.
Here are five tips for creating successful map designs.
- Combine fact with fiction for emphasis
Designing wayfinding maps for parks isn’t so much scientific as it is illustrative. Sure, you need to help visitors find their way around the park, but it’s much more loose and playful than a city map. “There’s a mixture of reality and fantasy in each design,” he notes. “Google does the reality thing beyond compare. We love to do the fantasy part.” Of course, they do this without overriding the wayfinding purpose. (Read the rest of the article here.)
Beyond offering a selection of food and beverage items, a good menu design is an extension of the restaurant’s identity, it’s well organized and easy to read, and hopefully it’s appetizing. Here, we offer up several menu designs with decidedly different ethnic and cultural offerings.
Köksbordet is a family-style restaurant serving locally produced foods in a friendly, relaxed atmosphere. Designer Björn Berglund, who’s known for his hand-lettering, was tasked with creating the identity. Köksbordet literally means “kitchen table,” so he intentionally made the o’s look like a round table, and the wavy baseline for the word indicates the restaurant’s close proximity to the sea.
Once the logo was determined, Berglund focused on a color palette derived from the natural ingredients served at the restaurant, and he worked with illustrator Fanny Schultz, who drew the imagery. “I love to collaborate on larger projects, if you find the right partner. The overall quality is so much better,” he says. The illustrations are used on the menus, business cards, and on the website. Read the rest of the article here.
Marika Maijala, based in Helsinki, Finland, has always loved books. In fact, she says that reading helped her survive her “tough teenage years.” It wasn’t until later, though, that she discovered that she could make a living illustrating stories. Fortunately, her love of reading has helped her succeed in her career as an illustrator, because it’s one of the most important functions of the job—getting a feel for the characters and their thoughts and actions. “I usually read the manuscript a few times and then let it live in my head a while, before starting to sketch the images,” Maijala explains. “I trust my intuition, so oftentimes the number of the spreads and the outline of the story come quite naturally. I somehow see the story like a film inside my head.” She often tries different adaptations and approaches when it comes to composition, color, and even characters, but finds that the first iteration is usually the way to go. Read the rest here.
Packing a Punch —
Hand-Lettered Letterpress Cocktail Cards
Designer Maria Montes is a lifelong learner when it comes to lettering and typography. Splitting her time between Barcelona and Melbourne, she works on custom lettering projects, illustrations, and type design, and once a year travels to the remote village of Cabanabona (about 75 miles from Barcelona) to study lettering and calligraphy under the tutelage of Keith and Amanda Adams. There she immerses herself in historic manuscripts, studying lettering techniques from the masters to improve her skills. She shares her knowledge by teaching calligraphy workshops in Melbourne and speaking at design conferences.
“I have a strong graphic design background and I am very passionate about all kinds of letterforms, from calligraphy, to lettering, to typography. I am daily training my eye to become a better designer. Calligraphy and typeface design are extremely technical; attention to detail is key. When I draw organic forms, I loosen up and look for energy instead of technical proficiency. I never looked actively for this style of illustration, but I am personally drawn to details.”
Not long ago, Montes was invited by designer Carla Hackett and letterpress printer Amy Constable (Saint Gertrude Fine Printing) to design a series of four letterpress cards for the Ladies of Letterpress series Flourish Together. “At the time, I was in the middle of putting together my first solo exhibition in Melbourne, Breaking the Ice,” she remembers. “It consisted of a series of eight full-color illustrated cocktail artworks and pattern prints, so I offered to convert four of my full-color pieces into two-color letterpress cards, and they agreed.” Below, the cards and descriptions Montes created. Read the rest of the interview here.
With so many microbrews infiltrating the marketplace—and taking up valuable shelf space in retail outlets—having a memorable package design that stands out from the crowd is more important than ever. So when Ommegang Brewery, based in Cooperstown, New York, decided to update its brand, they hired French illustrator, Yann Legendre, to bring their packaging to life.
Each ale has a fun, quirky back story, so the art needed to portray those qualities and bring them to life. Legendre notes, “They were looking for an artist who would bring a sense of movement, openness, storytelling, and wit in the art, to both honor their history and reflect a stylish, dynamic, and modern approach.”
He credits Ommegang’s art director Larry Bennett, with devising the clever stories. “Typically, we look for a story idea that may lead to a brewing idea, that will create an even better story idea,” Bennett says. “We have a great history with Belgium and American brewing, so we don’t often have to pull rabbits out of hats. Unless it’s a story that involves magic.” Read the rest of the story here.
Spencer Charles was hand-lettering signs at a Whole Foods in Salt Lake City when he heard Louise Fili Ltd was hiring. She invited him to New York for an interview. Fili and Charles clicked. A month later he was living in Brooklyn.
It was 2012 when Charles began working for the legendary Louise Fili, whose New York design studio specializes in book design, restaurant identities, food packaging, and “all things Italian.”
Including, apparently, amore. For Charles, landing a job at Fili’s studio was a dream come true … but that was just the beginning of his dreams come true. While working there, he’d meet Kelly Thorn … and marry her.
Meanwhile, Kelly Thorn was finishing at Tyler School of Art in Philadelphia. She, too, had heard Fili Ltd was hiring. “I lugged my giant portfolio case to her studio, and that’s when I met both her and the guy who’d become my favorite dork, Spencer.”
As their work relationship grew romantic in 2014, Charles left Fili to freelance. By 2015, Charles and Thorn were married and working together as Charles&Thorn. Read the rest of the story here.
They Draw & Cook is the internet’s largest collection of illustrated recipes created by artists from around the world. Founded by Nate Padavick and Salli Swindell, the site features more than 7,200 recipes, and it grows each day. They’ve since published more than a dozen books with recipes from the site, and one The Most Gorgeous Cookbook Ever, features 30 recipes by artist Ohn Mar Win. Swindell says, “We LOVE receiving illustrated recipes from Ohn Mar Win! Her illustrations always capture a mood and vibe that would be really hard to achieve with a photograph.”
Win who’s based in the UK, has been an illustrator and designer for 20 years. She teaches classes for Skillshare on drawing and watercolor techniques. Here, she shares five tips to help you get started on your own illustrated recipe.
Before beginning a project, I always collect lots of reference photos and create a mood board. This helps me to see many angles of the image—in this case, figs—and shows the variances in colors. I often use Pinterest for broad references, but if I need something more specific, I’ll use an image library like Shutterstock. Read the rest of the article here.
Joanna Muñoz, founded Wink & Wonder in Los Angeles, Calif., in 2013, as a freelance creative outlet outside of her full-time job as a graphic designer. “I got engaged not long after starting out and my work suddenly shifted toward calligraphy/lettering, as I documented the process of creating stationery and signage for our wedding. Everything else just kind of fell into place from there,” Muñoz says. “I stumbled across the Goodtype Instagram feed and was hooked. I felt like I struck gold finding a really great community to be a part of.” She’s been busy working on hand-lettering projects ever since.
Here, she shares advice and techniques to help aspiring lettering artists get started and follow their passion.
1. What tools are best for people just getting started in lettering?
I’m a big fan of using what you have at your disposal before going on a shopping spree. The reality is that tools can only take you so far. It’s consistent, mindful practice and learning the fundamentals that will help propel your work forward. Read the rest of the article here.
Fashion is Satisfaction for Laura Laine
Many young women are caught up in fashion and trends, but it’s usually aspirational—a garment they hope to acquire or a style they can pull off as well as the model. Illustrator Laura Laine, based in Helsinki, is a bit different. She actually worked as a model, but her interest in fashion was less about ready-to-wear and more about ready-to-draw. “I studied fashion design at the University of Art and Design in Helsinki, but I wasn’t really sure what I was doing at the time, or if it was even something I wanted to seriously pursue,” she says. “During my studies, I realized that designing was not my thing at all, but I loved illustrating fashion. I went on to pursue that and was lucky to start working while still in school.”
Laine had always had a penchant for drawing, and she was quite good at it at a young age. Her parents were both artists, so it was encouraged. “I was quite ambitious. I had a need to outdo myself again and again, and was never satisfied for very long,” she admits. She perfected her craft, and her style has perpetuated the fashion landscape. Read the rest here.
Icons have become such a ubiquitous way of life for most of us, that we don’t often think about them. And the point is, we shouldn’t, unless they misguide us or leave us confused. In Felix Sockwell’s new book, Thinking in Icons, he walks readers through the process of designing icons and the subtle nuances that can make or break the design.
“Icons affect our daily lives, similar to typography. It’s something we don’t take much notice of until it’s wrong,” Sockwell says. “For instance, in Penn Station—a place where millions of commuters pass through—there’s an icon in the main hall that denotes ‘gift shops,’ showing a pipe, a gift (with ribbon), and a book. It makes no sense to most people. And no one sells pipes–you can’t even smoke outside in many New York City public spaces–but that icon has been there forever, and it probably always will be. I find strange pleasure pointing out odd things like this to people. It’s one of the reasons I’m no longer married.”
He’s also fascinated by the evolution of some icons, such as the “share” icon. “It started out clunky, within a box and with rounded edges. Now it’s a 3D arrow, and it’s quite effective,” he notes. “A lot of mistakes turn into good, useable icons. My book is an honest conversation about how icons are used, designed, conceived and understood. Designing icons isn’t a sexy or even known practice within the profession. Most designers take it upon themselves to either use an old system or tweak things to feel new or proprietary. I’m more interested in the bigger steps and mistakes that lead to workable solutions.”
And he shares it all in the book, admitting in the introduction, “Ninety percent of the work shown within these pages is completely fake—drawn up in the sidebars of actual assignments. Some of them are redrafted explorations, staged buffoonery cloaked in optimism.” Even so, you get a front row seat into the thought process, and the many considerations that go into a simple mark. To see two projects featured in the book, click here.