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 first came across the London-based (and wonderfully-named) design studio We Made This by way of founder Alistair Hall’s prodigious collections of ephemera and found type on Flickr. The chances are I found these either via Ace Jet 170, a fellow designer and collector (and cyclist) who I interviewed last week, or Alistair’s page on Ffffound. It wasn’t until later than I discovered that We Made This also designed book covers and had actually worked with David Pearson on several covers for Penguin’s Great Ideas series.
“The work you do while you procrastinate is probably the work you should be doing for the rest of your life.” — Jessica Hische RIGHT NOW, FOR JESSICA Hische, that work—the work she should be doing for the rest of her life—is making letters. Right now, she sits at a computer in her Brooklyn apartment, hanging out with her two cats as she chats on the internet.
Robin Kinross occupies a unique place in design publishing. After a narrow escape from academia he became a writer and then, with no great plan in mind, a full-time publisher, an activity that gives complete expression to his practical, material and reflective concerns. There is no one in British design quite like him but, perhaps because of his restrained and self-questioning personality, he has never received the wider recognition his achievement deserves. He is not someone Design Week would be likely to phone for a quote, or that D&AD would buttonhole for a jury. Kinross would be the last person to press his case in these temples of professional design, though his body of work, for those who read him and follow the output of his Hyphen Press (hyphenpress.co.uk), exudes a quiet, corrective authority. Situated between design practice, non-academic critical writing and the university, this self-avowed ‘Froshaugian’ sets high standards of scholarly inquiry and presentation in design and typographic studies.
Although traditionally centered around 100% Design, the current rendition of the London Design Festival has offered up a spate of attractions and events for...
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).
Admirers of the electronic duo Underworld—composer/producer Rick Smith and vocalist/lyricist/guitarist Karl Hyde—are likely familiar with the UK band’s albums, from 1993’s tenebrous odyssey dubnobasswithmyheadman to 2007’s ruminative Oblivion with Bells. Most casual music fans have heard Underworld’s propulsive hit single “Born Slippy. NUXX” from the film Trainspotting. Not as widely known is that Smith and Hyde are two of eight cofounders of the 17-year-old art and design collective Tomato. Interview on the occassion of an event, entitled Beautiful Burnout ArtJam: The Art of Underworld, which offered a fragment of the collective’s drawings, film, soundscapes, paintings, prints, film, and photography.
Watching over what is happening in the design world for a bit, PingMag finds it inevitable to mention, that some quiet voices are recently getting much louder concerning conscientious design. The increased awareness of the responsibilities of design made PingMag want to talk to one person in particular: Jonathan Barnbrook, who is not only famous for his various fonts and own foundry but who has also been active in this responsible field with its outspoken views on politics and globalisation for a long time.
'I would advise young people to look at everything they encounter in a critical light . . . Then I would urge them at all times to be self-critical'Josef Müller-Brockmann was born in Rapperswil, Switzerland in 1914 and studied architecture, design and history of art at the University of Zurich and at the city’s Kunstgewerbeschule. He began his career as an apprentice to the designer and advertising consultant Walter Diggelman before, in 1936, establishing his own Zurich studio specialising in graphics, exhibition design and photography. By the 1950s he was established as the leading practitioner and theorist of Swiss Style, which sought a universal graphic expression through a grid-based design purged of extraneous illustration and subjective feeling. His “Musica viva” poster series for the Zurich Tonhalle drew on the language of Constructivism to create a visual correlative to the structural harmonies of the music. Müller-Brockmann was founder from and, from 1958 to 1965, co-editor of the trilingual journal Neue Grafik (New Graphic Designer) which spread the principles of Swiss Design internationally.
Khoi Vinh was born in 1971 in Saigon, Vietnam, and immigrated to the United States three and a half years later. He graduated in 1993 from Otis College of Art and Design, where he majored in communication design with a focus on illustration. In 2001, he joined several colleagues in founding Behavior, a design studio, which he helped manage and run for four years. Since January 2006, he has worked at The New York Times as the Design Director for NYTimes.com. Vinh also writes about design at his personal blog, Subtraction (Subtraction.com).
Rudy VanderLans talks with Peter Biľak about the Typotheque founder’s education, design practice and experience as an ex-pat Slovak living in the Netherlands. Dot Dot Dot is discussed, as well as the typefaces Biľak has produced and his current teaching practice.
As far as Denis Dulude is concerned, Montreal doesn't have much of a type tradition, and a well-known UK designer (he won't reveal his name yet) once told him that there was nothing happening in type design in his city. Max Kisman interviewed Montreal-based designer Denis Dulude, the founder and spokesman of 2Rebels.
"Even though I first noticed the chunky Eisner-esque cover design for Douglas Wolk’s Reading Comics at The Book Design Review, it wasn’t until much, much later — when Ben Pieratt posted about the elegant redesign of The Harvard Review at The Book Cover Archive blog back in June — that I registered that it was the work of designer Alex Camlin. Both Reading Comics and The Harvard Review demonstrate Alex’s incredible attention to typography, his range of his influences, and the amazing diversity of his portfolio. Currently he is Creative Director for Da Capo Press."
Milton Glaser (b.1929) is among the most celebrated graphic designers in the United States. He has had the distinction of one-man-shows at the Museum of Modern Art and the Georges Pompidou Center. In 2004 he was selected for the lifetime achievement award of the Cooper Hewitt National Design Museum. As a Fulbright scholar, Glaser studied with the painter, Giorgio Morandi in Bologna, and is an articulate spokesman for the ethical practice of design. He opened Milton Glaser, Inc. in 1974, and continues to produce work in many fields of design to this day.