We are deeply saddened to hear of the death of artist David Hockney.
In 2018, David Hockney designed The Queen’s Window, a vibrant stained-glass window in the Abbey’s north transept.
Hockney's only work in stained glass, the window was commissioned to celebrate the reign of Queen Elizabeth II. It was designed on an iPad and uses Hockney's distinct colour palette of yellow, red, blue, pink, orange and green. The rural scene, featuring hawthorn blossom, was chosen to reflect the Queen's deep love of the countryside. On summer evenings, the light from the window floods the transept, bathing it in a beautiful kaleidoscope of colour.
The Dean of Westminster, The Very Reverend Dr David Hoyle KCVO MBE said: 'David Hockney's restless eye and eager enthusiasm for pastures new has left us with an extraordinary legacy that is rich and various and yet also unmistakably his. The window he created for the north transept lets in light that arrives with attitude and even humour, painting the statue of Gladstone in shifting shades throughout the summer months. Hockney has left his mark here and we will long remember a great and very personal genius.'
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Stockholm Design Lab: 1998–2019. A book about the creative process and design of…
Editor: Stockholm Design Lab
Publisher: Victionary
Publication: 2020
(Publishers overview) 'To mark our 21st year in the industry, SDL have compiled a special monograph of exclusive insight into our creative inspiration, design processes, historical references, and honest trial-and-errors for the design-oriented and business-minded.'
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Wish I had the originals. Juan Carlos Distefano and the Design and Publicity for the Instituto di Tella, Buenos Aires https://t.co/FeT1LwoK8L #graphicdesign#designhistory
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SPIN / Adventures in Typography Issue 002 [Unit 36]
Publisher: Unit Editions
Publication: 2017, First Edition (Limited to 1000)
Design: Spin, London
(Publishers overview) 'SPIN/Adventures in Typography is a visual record of Spin's creative interests and outputs – combustive explorations not afraid to plunge into the abstract, teetering on the edge of legibility. A journal boisterous with typographic riffs, remixes, and rearrangements – SPIN/Adventures in Typography is an invitation to engage in conversation, an ellipses rather than a full stop.'
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