Robert L. Peters

8 March 2016

Our new stamp… commemorating 100 Years of Women’s Suffrage

Canada_Suffrage_Centennial_Stamp

VOTE_stamp_booklet_cover

VOTE_OFDC

Winnipeg, Canada

Our latest stamp design launched in Canada today, on International Women’s Day. As a feminist, I found it particularly gratifying to be able to have a hand in this issue.

Read all about the stamp’s design here. Access information of interest to philatelists and collectors here. Watch news reportage of Canada’s Prime Minister, Justin Trudeau, unveiling the stamp in Ottawa earlier today here

Trudeau_Suffrage-Stamp-Launch


14 January 2016

Design creates culture…

design_culture_values

.
I don’t “Instagram,” but this quotable seems to keep making the rounds…

(thanks for sharing this with me, Carisa). 


8 January 2016

Coexistence…

Coexistence_Bantjes

Bowen Island, British Columbia

This is a 24 x 36 inch poster created last year by my über-talented friend Marian Bantjes, composed of sand and dirt from around the world. Coexistence is printed on thick, durable, archival Epson Enhanced Matt paper using Epson UltraChrome HDR ink-jet technology. You can order your own copy here.

Coexist_Bantjes

Copyright © 2016 Marian Bantjes, All rights reserved.

 


14 February 2015

Design protip : consider how things are used.

protip

(Thanks Paul Tetrault, via Mitch Goldstein).


24 January 2015

The Look of Silk… The First Session of Cross Strait Silk Culture and Creativity Forum and International Silk Creative Design Expo

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collar_detail

silk_display

pillow_scarves

Robert_L_Peters_silk_display

silk_scarf

scarf_in_blue

scarf_in_green

Cross_Strait_Silk_Culture_and_Creativity_Forum

Shenzhen, China

One of 2014’s highlights for me was to participate in The Look of Silk, (The First Session of Cross Strait Silk Culture and Creativity Forum and International Silk Creative Design Expo) sponsored by China Tong Yuan Co., Ltd., Shenzhen China Silk Park, and the Taiwan Cultural and Creative Industry Association.

As one of “eight internationally renowned designers” I was invited to design a pattern for silk scarves, participate in the 5-day event in Shenzhen, and to give a keynote address. A design team from Taiwan was commissioned to develop 80 different silk products using our designs, “creating a systematically multicultural design integrating multiple aspects.”

The Look of Silk plans to “keep alive the spirit of traditional Chinese culture and the international role played by silk in the past, while creating a brand image and market orientation for Chinese silk” by means of innovative creative activities.

I recently received images from the organizers of my silk design applied to various products (from bed linens to ties, cushions, padded laptop cases, and other fashion accessories). Shown above is a small sampling… my original design was in oranges and reds, but the product design team decided to also iterate it in blue and green.

Click on the image below or here for a larger view of my silk pattern design (135mm x 135mm) entitled Occidental Habitué. Details of the design can be viewed at my original blog post, here

Robert_L_Peters-China_Silk_square

Occidental Habitué

Thousands of icons, images, and visual impressions cross our consciousness daily, weaving rich cultural narratives and imbuing meaningful memories. As travellers, émigrés, and nomads in a shrinking world we wrap ourselves in layers of sensuous, intertwined experience.

My concept involves the creation of an intentionally layered, quirky, and semi-random collage, providing unexpected juxtapositions that draw in the viewer and then reward curiosity with serendipitous surprises of simultaneity. Ancient meets modern, complex collides with simple, small bests large.

Luminous color acts as a background for layered, multidirectional, copyright-free imagery from earlier eras — visual ephemera, linear diagrams, Victorian etchings, old prints, ornaments, printers’ spot illustrations, ad cuts, and clip art — from ancient cave paintings to art deco elements, from flora and fauna to whimsical human inventions.

As if floating above this nuanced visual composition, a repeating directional diamond pattern of contemporary symbols and info-graphic icons (from The Noun Project, an online “visual language” resource of icons created by a global community) lends added dimension, with icons varying in color in a top-to-bottom gradation, complementary to the hue of the background.

A symbol of the globe glows in the fabric’s center.

© 2014 Robert L. Peters


19 January 2015

Eyecandy… Best of the Year from Netdiver Mag

txokosi_2014

Krzysztof_Domaradzki_2014

Christian_Tagliavini_2014

andric.biz_2014

quotesonshit_2014

Josep_Puy_beige_2014

Nigel_Buchanan_2014

Montréal, Quebec

After a 5-year hiatus, Netdiver has rebooted its tradition of revisiting the past year of design news to choose projects that stand out “for their originality, quality, and inspirational value.”

Shown above is a tiny sampling — see much more at BOTY 14.

Thanks, Carole Guevin.


4 November 2014

Beautiful Linguistic Family Tree

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Old_World_Languages_detail

(somewhere in the post-apocolyptic North)

“When linguists talk about the historical relationship between languages, they use a tree metaphor. An ancient source (say, Indo-European) has various branches (e.g., Romance, Germanic), which themselves have branches (West Germanic, North Germanic), which feed into specific languages (Swedish, Danish, Norwegian).”

“Lessons on language families are often illustrated with a simple tree diagram that has all the information but lacks imagination. There’s no reason linguistics has to be so visually uninspiring. Minna Sundberg, creator of the webcomic Stand Still. Stay Silent, a story set in a lushly imagined post-apocalyptic Nordic world, has drawn the antidote to the boring linguistic tree diagram.”

Access the full-size diagram here. (Source).


1 November 2014

Project Thirty-Three

p33_dvorak_dumky

p33_rc_singers_movies

p33_shellymanne_friends

p33_souljazz_vol22

p33_ovation_quad3

Seattle, USA

Project Thirty-Three celebrates “vintage record jackets that convey their message with only simple shapes and typography… a personal collection and shrine to circles and dots, squares and rectangles, and triangles, and the designers that make these shapes come to life on album covers.”


8 October 2014

Design ist unsichtbar.

Lucius Burckhardt (1925-2003)

Thanks to Lorenzo Shakespear for the quotable…


20 August 2014

Canadian Museum for Human Rights… our latest stamp design.

CMHR_stamp_design_Circle

CMHR_stamp_booklet_cover

CMHR_official_first_day_cover

Adrian_Shum_CMHR_Robert_L_Peters

Winnipeg, Manitoba

Canada Post today released the commemorative stamp (designed by Circle) featuring the Canadian Museum for Human Rights, one month before the building opens. The museum is located near the Forks National Historic Site in downtown Winnipeg, a meeting place dating back thousands of years at the junction of the Assiniboine and Red rivers. It is the first national museum to be built since 1967, the first ever to be located outside of the National Capital Region, and the first museum in the world solely dedicated to the evolution, celebration, and future of human rights.

The ceremonial stamp unveiling took place at the west base of the Esplanade Riel pedestrian bridge on Mahatma Gandhi Way, and was covered by various local and national media outlets (e.g. here, here, here, and here).

“Canada Post’s stamps tell stories of our history, our heritage and our Canadian identity. The Canadian Museum for Human Rights will invite the world to reflect on human rights struggles – both inspiring and tragic – and encourage action for a better future. This stamp commemorates a symbol of our global human rights aspirations, told through a uniquely Canadian lens,” says Deepak Chopra, President and CEO, Canada Post.

The Canadian Museum for Human Rights permanent rate stamp measures 40 mm x 40 mm and is available in booklets of 10 stamps. An Official First Day Cover has also been issued, measuring 191 mm x 113 mm and cancelled in Winnipeg. The stamps can be purchased at any Canadian Post Office or ordered here.

Stamp design direction : Alain Leduc, Canada Post (Ottawa)
Creative direction : Robert L. Peters, Circle Design Incorporated
Graphic design : Adrian Shum, Circle Design Incorporated
Photography : Mike Grandmaison
Printing : Lowe-Martin Group (Ottawa)

Images above : The stamp, booklet, and official first day cover; Adrian Shum and Robert L. Peters at the unveiling ceremony.


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