Robert L. Peters

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.

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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.


5 August 2014

Don’t be an asshole to work with.

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Erik Spiekermann’s latest letterpress poster…


30 July 2014

Killing under the cloak of war is no different than murder.

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‘Quote of the Month’ by Chaz Maviyane-Davies


27 July 2014

Peace please.

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© François Caspar, 2001


28 May 2014

It’s all done already… it just needs to be made.

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Erik Spiekermann’s “plan for the future.”


18 May 2014

If it cannot be reduced, reused, repaired, rebuilt, refurbished, refinished, resold, recycled or composted, then it should be restricted, redesigned, or removed from production.

Pete Seeger (1919-2014)


15 May 2014

Unfuck the Future… at OFFF

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Barcelona, Spain

I’m giving my talk at 16:45 today… OFFF Barcelona 2014.


13 May 2014

Occidental Habitué

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Shenzhen, China

I’m happy to be participating 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.

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.

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 earlier today. The title of my silk pattern design (135mm x 135mm) is Occidental Habitué. A design team from Taiwan has developed 80 different silk products using our designs, “creating a systematically multicultural design integrating multiple aspects.”

My design is shown above (click here for a larger view)…

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


11 May 2014

Here in Barcelona, it’s the architects who built the buildings that made the city iconic who are the objects of admiration, not a bunch of half-witted monarchs.

Julie Burchill


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