It is difficult to argue that we as a society are obsessed with technology. Many of our relationships, whether with art, literature or each other are now maintained primarily through one digital interface or another. Tantalizing new platforms are continuously appearing in the marketplace offering more features than their predecessors. The usual outcome is the forced obsolescence of these previous systems. And yet in art and design, there has been a shift in recent years towards the fruits of more “lo-fi” processes, a distinct need for a personal component and the expressiveness that normally only a human hand can evoke. Vector graphics have weathered this current backlash taking pride of place alongside the fruits of more handmade techniques. The sources of inspiration often remain the same, whether a nod to popular culture or an homage to nostalgia. The execution is precise and original, with a unique capacity for pattern and color and a great versatility of scale. Vectorism examines the state of contemporary vector graphics and its continuing relevance in the design world. Contributors: Ali Alsumayin, , Anthony Burrill, Aske aka Sicksystems, Bart Aalbers, Because Studio, Beci Orpin, BLOW, Bruno Borges, C100 Purple Haze, Colorcubic, Craig & Karl, Edit, Emil Kozak design Studio, Exergian, Happy Lovers Town, Hey, Homework, Ideas on Purpose, ilovedust, James Joyce, Jan Kallwejt, Janine Rewell, Jonny Wan, Katrin Rodegast, KHUAN+KTRON, Kinpro, LouLou & Tummie, Maria Zaikina, Mark Brooks Graphik Design, Matt Lyon, Onesidezero :phunk, Patrick Hruby, Paul Tebbott, Piotr Staby, Pony Ltd., Rinzen, Rob Bailey, Robert Samuel Hanson, Sam Harris, Stephen Cheetham, Steven Moreau, Steven Wilson, Super Nature Design, Tamer Koseli, TOYKYO, Tsevis Visual Design, Vahram Muratyan

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