In 2004 I moved from Chicago to Prague to finish a writing degree through Columbia College. For six weeks I wandered the narrow cobblestone corridors of Prague, drank beers the size of my head, and in my spare time read the complete works of Franz Kafka. We’re talking every single book including The Castle, his technically unfinished novel that is in essence, madness. I wouldn’t say that makes me any kind of authority on his work, but I will say that these incredible covers by Peter Menelsund, the art director for Knopf (that owns publishing rights to all of Kafka’s work), perfectly captures the essence and concurrent themes in much of his writing. Even the use of Mister K, a font based on Kafka’s own handwriting is surprisingly pitch-perfect and not gimmicky as one might expect. And the eyes:
So, as you can see, I’ve gone with eyes here (not the first or last time I will use an eye as a device on a jacket-book covers are, after all, faces, both literally and figuratively, of the books they wrap). I find eyes, taken in the singular, create intimacy, and in the plural instill paranoia. This seemed a good combo for Kafka- who is so very adept at the portrayal of the individual, as well as the portrayal of the persecution of the individual.
The books will be available in June or July of this year. (via coudal)
Beautiful and intricate woodworking from artist Richard Pearse. (via the best part)
The first published work this year from UK miniature street artist Slinkachu. His new solo show, Concrete Ocean, will open March 3rd at Andipa Gallery in London. (via mashkulture)
Is Dr. Seuss still alive, hiding out in Sweden, working as an urban planner? Not quite. The puckelball pitch made of artificial turf is a design concept by artist Johan Strom, who created this field in Malmö, Sweden as a metaphor for life:
“Many live under the belief that life is a fair playing field, that both pitch halves are just as big and the goal always has at least one cross. But ultimately the ball never bounces exactly where you want it to and the pitch is both bumpy and uneven.”
The rolling landscape of the field is meant to inspire imaginative play and to encourage fair competition between skilled and unskilled players, young and old, boys and girls. It was nominated in the Making Space 2010 competition that gives prizes to the best architectural and designed spaces for children. Every city in the world should be lucky enough to have a field like this. (via playscapes)
Broken Dinnerware by Richard Ginori available at Gore Dean. (via all things cool)
This stringed typography was an experiment in collaboration between no less than eighteen Portland creatives for a 2010 show called OVER IT.
Can 18 disparate Portland artists, writers, designers, art directors, fashion designers and illustrators get together and work as a singular unit to make art? Probably not. But Chris Hutchinson, Damion Triplett, David Neevel, Jelly Helm studio, Jennie Hayes, Jimm Lasser, Julia Blackburn, Julia Oh, Kate Bingaman-Burt, Marco Kaye, Mike Giepert, Official MFG CO, Portland Foreign Legion, Scrappers, and Taylor Twist got together and tried anyway.
The result is OVER IT, an experiment in creating as a group, letting go, disagreement, misunderstanding, backpedaling and trust.
Lots more photos here. (via designspiration and aaron rayburn)
Photos of cable cars at Ngong Ping in Hong Kong by Calvin Sun, available as giclee prints over at inPRNT.
Holiday wrapping paper from Swedish firm Happy F&B, printed with scented inks no less. Reminds me of the juice boxes by Yunyeen Yong and Naoto Fukasawa. Neat. (via the strange attractor)