Paula Scher has been a strong presence in the design field for almost four decades. As Pentagram’s leading lady — she joined the New York office in 1991 — she has shaped the face of clients ranging from Citibank to Perry Ellis and the MoMA. Scher’s work brightens the city with its exuberant imagery, drawn type, and vibrant use of colour that constantly convince viewers that they want to be a part of it.
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.
Can graphic design save itself? What exactly do we need to save ourselves from? Questions like these plagued me after reading Andrew Blauvelt’s essay in Emigre #64 Towards Critical Autonomy or Can Graphic Design Save Itself? This wasn’t the first time Blauvelt’s writing had incited me. Building Bridges: A Research Agenda for Education and Practice called for a refinement of graduate study and practice in graphic design. We should push beyond the limits already experienced. And that’s where his Emigre article put a bigger fire under me. Change what we do, not how we do it. It’s more about point of view than visualizing your point, with a great opportunity for revolutionary work. Obvious? For me it wasn’t.
Folkert Gorter is functioning on a different level than the rest of us. The interaction designer and high concept community creator is the man behind online arenas such as SpaceCollective and Cargo, not to mention his own design studio, Superfamous.
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.
When Irma Boom makes a book, it’s not just a book but the book. The 50-year-old Dutch designer can spend years researching a project, and she insists on being a partner, not an employee. But her imperiousness is in the service of creating an object that, whether it’s an acclaimed monograph on Sheila Hicks or a 2,136-page history of the Dutch conglomerate SHV, couldn’t have been designed for anyone else. Print’s managing editor, Michael Silverberg, met with Boom at a Starbucks on Manhattan’s Upper West Side to talk about why she hates "clients," can’t stand handicraft, and despises authority.
Design is at a turning point. Our infatuation with—and the backlash against—technology is over. Today's best designers have learned to embrace its advantages and...
Modise BlackDice speaks about the hurdles he had to take to become an graphic designer in South Africa.