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Illustration superstar, Damien Correll, has been building up quite a portfolio of work in the past few years. Between his solo career as a freelance illustrator and designer, and his joint design-firm venture with Garrett Morin, Part & Parcel, Damien has taken the editorial and advertising world by storm. His most recent project is an art show at Raised By Wolves in Greenpoint, NY, where he features his newest hand-printed works.

To immerse yourself into the world of Mr. Correll, you can listen to his mixtapes, check out his sketch blog, visit his studio and buy his art.

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Also worth viewing:
Rad Mountain Studio Visit
Garrett Morin illustration and graphic design
Neither Fish Nor Fowl interview

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Senior Designer – MTV Networks (New York, NY)
Web Designer- North Street (New York, NY)
Flash Designer – ATTIK (San Francisco, CA)
Art Director – Column Five (Newport Beach, CA)
Graphic Designer – Column Five (Newport Beach, CA)

You can subscribe to our job listings via RSS, Email or follow at Twitter and Facebook.

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Books: Recently Received
From the Grain Edit Shop
Alexander Girard by Todd Oldham & KIera Coffee

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I recently stumbled upon the charming work of Danielle Davis. Her lettering work pulls from both traditional typography and entirely modern calligraphic styles and she always puts a unique spin on each project. I especially love the small personal illustration touches on each of her projects. Keep up to date with Danielle’s work on her blog and be on the look out for her note card line, Local No. 633, hopefully coming out soon!

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Also worth viewing:
Ted Parker
Jen Mussari
Typography Sketchbooks by Steven Heller and Lita Talarico

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Ted Parker is an international man of mystery, whose work exhibits extreme joy in the most strange and comical of situations. This illustration, titled Jungle Coffee, was created to promote The Village Coffee and Music in Utrecht, Netherlands. Regardless of the subject matter, whether it be dogs smoking, lions dancing, or people and animals engaging in pure rowdiness together, one thing is for sure – Ted’s work is sure to put a big smile on your face.

Tim Lahan
Sac Magique
Brecht Vandenbroucke

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The Florida-based illustrator and designer, Justin Mezzell, has a nice collection of work up on his site. I really dig his flat, straight-forward layouts working together with bright colors and warm textures. That topo-style map ampersand up there is pretty rad.

See more in-progress work at Justin’s Dribbble.

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Here’s the latest titles to hit our shelves. This week’s entry includes pieces from Nieves, Pie Books, Nobrow, Chronicle Books, and Lars Muller.

Ghost Knigi
By Benjamin Sommerhalder / Published by Nieves
20 Pages, 19.5 x 25.5 cm

On little Ghost Knigi’s birthnight he receives a book from his Aunt Abel.
When she hands it to him all she says is, ‘I hope you enjoy reading this!’

Knigi is quite young, but still at an age when human children normally learn to read. And it’s the same for ghost children. ‘But something is wrong’, Knigi worries. The book is absolutely white – every page, from cover to cover. Knigi is forced to embark on a journey to find out how to read.

Herve Morvan: The Genius of French Poster Art
By Michel Archimband / Published Pie Books
268 pages / 5.9 x 1 x 8.2 inches

A collection of Hervé Morvan—colorful, cute and adorable characters. Hervé Morvan (1917–1980) is a great French poster artist and designer who became well-known for his advertising poster for Perrier in 1950. He drew increasing attention from his following works for Vittel, Evian, Danone, and Esso. Along with Raymond Savignac, who was his good friend as well as his competitor, Hervé Morvan is still quite popular. Morvan’s works are relatively soft in touch compared with Savignac’s, and lovely characters often appear in his pieces. This collection contains around 280 of Morvan’s creations ranging from the advertising posters for kids, food/drink, household, fashion, travel, campaigns, alcohol, cigarette, film and music, and greeting cards.

Hilda and the Midnight Giant
By Luke Pearson / Published by Nobrow
12 x 8.7 x 0.4 inches / 40 pages

In the first volume of a new series, Hilda finds her world turned upside down as she faces the prospect of leaving her snow-capped birthplace for the hum of the megalopolis. Her mother, an architect, has been offered a prestigious position in the bustling metropolis that she would find hard to reject. Besides, the tiny elven creatures making a daily habit of bombarding them with threats isn’t making Hilda’s case any better. As she seeks ways to stall her mother’s decision, Hilda rushes to befriend the very source of her malady – will they help or hinder her? More importantly, who is this mysterious Midnight Giant?

There’s a few copies available at Amazon.

Shakespeare’s Love Sonnets
Illustrations by Caitlin Keegan / Published by Chronicle Books
6 x 8 in /  64 pages

This book collects 29 of the bard’s most romantic sonnets, each one lovingly illustrated by the talented Caitlin Keegan. Pretty and contemporary, the illustrations tastefully accentuate the depth of sentiment in each sonnet.

Pick up a copy here.

Lufthansa + Graphic Design
Edited by Jens Müller und Karen Weiland / Published by Lars Muller
14.8 × 21 cm, 5 ¾ × 8 ¼ in, 128 pages, approx. 300 illustrations, paperback

The beginning of the 1960s saw one of the most important steps in the development of corporate communication. Lufthansa employed the designer Otl Aicher and his Gruppe E5 student group to develop a visual identity for for the airline. It was substantially realized in 1963 and up until the present day counts as one of the most groundbreaking corporate design solutions of the 20th century. With a focus on the famous brand identity, the design and advertising history of Deutsche Lufthansa from the 1920s to today is comprehensively documented here for the first time. This volume contains numerous illustrations from the corporate archive and background articles and interviews.

Available for Pre-order here.

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Also worth viewing:
Other Books
Alexander Girard Book
From the grain edit shop

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Jude Landry, the Mississippi-based designer and educator, has a nice collection of work. Rather than a specific style often repeated, Jude’s work feels more conceptually driven. The thoughtfulness and detail is evident in each project. At the core, though, it’s very approachable and readable.

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Also worth viewing:
Ross Gunter
Philographics
Lufthansa + Graphic Design

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All photos by Petr Krejci

Seeing as he cut his teeth with the likes of Max Lamb, Studio Gilthero, Martino Gamper and Julia Lohmann, it comes as no surprise that designer Phil Cuttance is well-versed in materials and processes. “FACETURE” is a series of household objects that take a vaguely crystalline appearance based on a unique fabrication process. Each vase, lamp and side table looks is made by casting a water-based resin in a handmade mold:

First the mould of the object is hand-made by scoring and cutting a sheet of 0.5mm plastic sheet. This sheet is then folded, cut and taped into the overall shape of the product that is to be cast. The mould’s final shape, and strength, is dictated by which triangular facets I pop in and out. I do this each time I ready the mould for the next object, meaning that no two castings are the same. I then mix a water-based casting resin that is cast in the mould where it sets solid.

The resin is poured into the hollow mould and rolled around to coat and encase the sides, controlled by me on the casting jig on the machine. The material soon sets creating a hollow solid object. Then another, different coloured measure of resin is poured into the same mould, and swirled around inside, over the first. When it has set, the mould is removed to reveal the solid set cast piece.

The results look something like stalagmites from a virtual cave, though Cuttance notes that their origin is neither geological nor digital: “The casting appears with sharp accurate lines and a digital quality to its aesthetic, a visual ‘surprise’ considering the ‘lo-fi,’ hand-made process from which it came.”

But the real gem is the bespoke machine with which Cuttance creates “FACETURE”:

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By Edward Betts (Own work.) via Wikimedia Commons

If I could convince you of one thing, it would be this: Crowdfunding is not Nyan Cat. Nyan Cat will be the answer to a Trivial Pursuit question in 10 years or so. If it’s lucky. Crowdfunding is radically changing the way things are made.

That’s why it bugs me when I see the inevitable Internet eye-rolling starting to take place. “Oh great, another Kickstarter project.” Look past the avalanche of Apple related accessories. Lower your designer snark rays for just a moment. Just because something is trending on the Twitter, doesn’t make it bad.

Crowdfunding is the most important thing to happen to industrial designers and people who are interested in making things since, oh I dunno, CAD? Outsourcing? 3D printing? User-centered research? I know that’s pretty big talk for something that’s only been in the design community consciousness for a year or two, but think what crowdfunding means for a solitary designer or a small team of people who have a *really great* idea and the know-how to get it made, but no money.

Think of all of the times you have been in meetings with people who make decisions that designers are generally not allowed to make. Think of bringing your hacked up prototype to a bank and explaining to the loan officer that “Yes, even though this is made out of blue foam, the actual thing will be made from molded plastic.” Think of building up enough courage to go it alone, and then staring at the ceiling at night worrying if you are committing your family to eating ramen for the next couple of years while you chase your crazy dream. Think of having investors tell you they love everything about your idea, except 80% of it. And the color.

Now think of side-stepping all of that. You refine your idea on your own. You talk to manufacturers and see what it would take to get it made. You work out the budget. You shoot a video marketing the idea and explaining what you need to get it done.

You launch it.

Maybe it doesn’t get funded. But at least then you can say that you tried and failed on your own terms, without going tens or hundreds of thousands of dollars into debt. At the very least, you have an interesting portfolio piece to talk about and maybe if you’re feeling frisky, you refine it further and try launching it again.

But what if it does work? You get funding. You get confirmation that your idea is good and should exist. Holy crap.

Herein lies the revolutionary aspect of crowdfunding: Product designers can finally tap into the Internet money pipe. For years we have had to sit on the sidelines while nascent web companies attract investors or bootstrap it themselves. It’s not because we’re lazier than Mark Zuckerberg. It’s because the cost of entry into shipping atoms is dramatically higher (both in time and money, but especially money) than it is to ship electrons.

To start Facebook you need the skills, a laptop, a server, and a few months of late nights. (This is a dramatic oversimplification. Sorry Zuck and every software/internet developer ever.) To start a company that gets something manufactured, you need all of that plus a ton of cash. Prototyping, tooling and fulfillment are tremendously resource intensive. Have you ever wondered why VCs tend to back web startups, but for the most part leave hardware startups alone? Money. Crowdfunding lowers the money barrier.

Ok great, so some dude can get the money he needs to make an iPhone case that mounts to his forehead. Hey, what did I tell you about the snark rays? Let’s think bigger picture here. What are the long-term implications of designers having a lower barrier for funding their pet projects?

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“The best interaction design doesn’t just make things easier to use, it opens up new spaces for play and collaboration to enhance our relationship with the world and each other,” explained jurist Robert Fabricant, VP of Creative at frog. Kicking off the announcements for this year’s inaugural IxDA Interaction Awards, San Francisco-based agency Stimulant won Best in Show AND the People’s Choice Award for Loop Loop, an innovative music sequencer app that encourages kids and adults to create improvised musical compositions using their Sifteo cubes to stitch and layer a set of samples and beats.

Stimulant LoopLoop for Sifteo from Stimulant on Vimeo.

From a pool of over 300 entries representing 33 countries, 26 projects were awarded honors in the categories of Best in Show, Best Concept, Best Student, People’s Choice, and Best in Category for Optimizing, Connecting, Disrupting, Expressing, Engaging and Empowering.

Best Concept went to Out of the Box by London-based Vitamins, and the award for Best Student was given to Ishac Bertran from Copenhagen Institute of Interaction Design for his project Pas-à-Pas.

Out of the box from Vitamins on Vimeo.

Pas A Pas from Ishac Bertran on Vimeo.

Congratulations to all of this year’s winners and click the jump for full list of 2012 Interaction Awards Winners!

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