A recent graduate of the École Estienne in Paris, Lucas Le Bihan is a graphic designer who specialises in type design. He shares how he came to be a type designer, the design process behind the fonts he creates and the Japanese cultural inspiration that feeds his practice.
Akira Kobayashi is a solid, world-renowned type designer. His diverse typefaces cover the gamut of display type, historic revivals and a whole lot of rock-solid text typefaces. Over the past two decades, he’s racked up numerous prizes in type competitions and also completed typefaces for innumerable foundries, taught type design and has collaborated with the best type designers in Europe, Japan and the Americas.
'I think one of the biggest pluses of working for yourself is being able to work in different locations. While I love my studio, I like that when I want to marathon some bad television and get through a tedious project, I can stay at home, drink some tea and hang out with my cats. I don’t like working at the studio super late since most of my studio mates and building friends keep pretty regular hours, so when I have to pull a late night it’s usually from home. I’m also an avid coffee shop worker, mostly for REALLY tedious work like css editing and font kerning.'
Helvetica is a feature-length independent film about typography, graphic design and global visual culture. It looks at the proliferation of one typeface (which celebrated its 50th birthday in 2007) as part of a larger conversation about the way type affects our lives. The film is an exploration of urban spaces in major cities and the type that inhabits them, and a fluid discussion with renowned designers about their work, the creative process, and the choices and aesthetics behind their use of type.
The publication 'Identify: Basic Principles of Identity Design in the Iconic Trademarks of Chermayeff & Geismar' looks back at the last half century of work by Chermayeff & Geismar, the design studio behind many of the world’s most recognizable trademarks: Chase Bank, the Library of Congress, NBC, National Geographic, PBS, Showtime, and many others. Established in 1957, the firm helped pioneer the modern movement of idea-driven graphic design, and its projects span every discipline, including visual identities, exhibitions, print and motion graphics, and art in architecture. Print Magazine talked to Ivan Chermayeff, Tom Geismar, and Sagi Haviv, about swooshes (never!), whether Paul Rand shares responsibility for Enron (no), and who is really the boss (none of them).
'Print had brought Vignelli and Benguiat together because they looked like oil and water on paper. But rather than debate one another they surprised us by ganging up on Emigre magazine (1984–2009) as a symbol of the computer's destructive influence on contemporary typography. What follows is an almost complete rerun of the 9,000-word original published version. Parts that have been skimmed away are indicated by ellipses (...).'
Neville Brody discusses his inspirations and challenges past, present and future in four chapters. His work as a graphic designer, typographer and art director over the last 30 years has broken boundaries; influenced how we view messaging in many walks of life and is work that will continue to provide inspiration for generations to come.
What does it take to be a graphic designer in a time when the trappings of technology, fame, and fortune lure folks young and...