Here’s a Bio from his Flickr site:
“France has long been a breeding ground for unusual yet badass graff styles. It’s no surprise then that the work of French graffiti artist REMED is both unusual and badass in the extreme. REMED is a spin-off alter-ego of the artist Guilo who initially gained fame with his Moroccan-influenced paintings of bearded men. That heavily-patterned style mixed with a yen to create art on any available surface led Guilo to create the REMED persona to distinguish his new characters and symbols from previous work. What sets him apart is the focus on his own evolution and a minimum of deep message. He’s doing his own thing, and it’s nice to come across that particular kind of passion in the graff world, the pure joy of cr eating regardless of outside influences.” Source : Our art site.com(magazineweb US)”
Look at these images, so minimal and so Swedish 60′s meets african tribal. I’m excited to be witness to the evolution of his work:
In a way his work reminds me of Swedish illustrator and designer Olle Eksell, but Remed’s work is so much more serious and contemporary:
Gerard Unger is the designer of the Swift font family, and has released a revised version in 2009. It’s incredibly usable, and for a fairly new serif face, widely used. What’s most unusual is Gerard is fairly young for his accomplishments.
Here’s a link to his site & work.
Back to Swift, it has a very interesting history…
Here’s the story of the Swift family from the Linotype site:
During the early 1980s, Gerard Unger first designed Swift for a company named Dr.-Ing. Rudolf Hell GmbH. Known as “Hell” for short (a surname meaning “bright” in German), this company produced the very first digital typesetting machine – the Digiset, back in 1968. Hell had clients the world over, many of them in the newspaper industry. Unger had already created a number of original typefaces for Hell before he conceived of Swift. But Swift probably made the biggest impact of all his designs.
The Swift family brought in a breath of fresh air to 1980s newspaper design. In the past 25 years, Swift has achieved such broad use that it may be numbered among the most successful and popular serif typefaces of the 20th century. Linotype, which acquired the Hell company in 1989, has been distributing Swift since the mid-1980s.
Around 1995, Unger revisited Swift, bringing Swift 2.0 onto the market. Unger distributed Swift 2.0 on his own. The Swift 2.0 family had been redrawn from scratch using PostScript outlines; the original Swift had been digitized with the help of the now-defunct IKARUS system.
Recently, Linotype worked together with Unger to create new OpenType fonts based on Swift 2.0. These would not offer small caps and oldstyle figures as separate fonts, like in the days of old PostScript Type 1 files. Instead, all typographic features would be accessible as OpenType features, as customers have long-since come to accept!
Dubbing these “new Swift 2.0” fonts “Neue Swift” (“neue” means “new” in German), Linotype also expanded the character set, adding dozens of new glyphs per font. This allows speakers and readers of even more Central and Eastern European languages to set text in the new Swift design.
Some Neue Swift Samples:
