The famous graphic designer Louise Fili talks to Lancia TrendVisions and presents her latest project for the BUR -“Rizzoli Universal Library”, “Romanzi d’Italia” , which involved her in the design of the cover pages for ten 19th-century ‘bestsellers’, about to be released to celebrate 150 years since the unification of Italy.
Marian Bantjes is a designer, typographer, writer and illustrator working internationally from her base on a small island off the west coast of Canada, near Vancouver. She is a member of Alliance Graphique Internationale (AGI), and regularly speaks about her work and thoughts at conferences and events worldwide.
'I’ve always kept my studio in the neighborhood so I can walk there every morning. My office is a personal sanctuary filled with all things (mostly Italian) that inspire me. And since the major part of the work I do is food-related, there is always something good to eat (or drink) around here: Irving Farm coffee and Sarabeth’s jam for breakfast, gelato or Qbel chocolates for a pick-me-up in the afternoon, and a glass of wine from Polaner Selections at the end of the day. When I work, I spread out at either at my desk, my Deco rattan chair, my 1950′s porch glider, or the conference room table.'
'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.'
“Our office is on the second floor of an old storefront building in the Old City neighborhood of Philadelphia. We’re surrounded by Ben Franklin impersonators giving walking tours of the Betsy Ross house and Independence Hall. The studio is pretty jammed packed with our books and paper scraps and ephemera. We have all sorts of design objects around including presidential busts, globes, old books, and a vintage blue-collar thermos collection. We also run our online store from this space so our poster and print archive is stored here as well as our mail room. It gets pretty chaotic at times but it has the great organized chaos of a workshop.”
Paula Scher is one of the world's most famous graphic designers, known for creating Citibank's umbrella logo (link is external) as well as for design work for The Public Theater, The New York Times Magazine, the American Museum of Natural History, The New York City Ballet, and Herman Miller. She believes failure is the secret to artistic success. "You have to fail in order to make the next discovery," says Scher. "It's through mistakes that you actually can grow."
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.
In 1989, Donald Moffett and Marlene McCarty founded Bureau, a “trans-disciplinary design studio” whose mandate was to produce art, film titles, political work, and brand identities. Bureau was a multidisciplinary design studio and collaboration between principals Donald Moffett and Marlene McCarty, with Claudia Brandenburg, Kiers Alexandra, Mary Day, Lucy Hitchcock, and Gabriel Feliciano, who viewed their unique design studio as a service provider and, more significantly, as an author of social messages.
Since 1984, 85, the big story in design education has been the reworking of design curriculum. There has been a movement away from two main tracks: commercial formalism and the straightforward modernist program. Post-modernism has had an effect on design curriculum. I am thinking particularly of Cranbrook, Cal Arts, and RISD, where there has been a turning away from a purely formal approach to a more literary one.
'In case you have been hiding under a rock for the past 18 years Rudy is the co-founder of Emigre. Along with the Macintosh in 1984, Emigre revolutionized Desktop Publishing, Graphic Design and Font Publishing and Design. Today they strive to voice their own and unique views on Design through their magazine and typeface design. On this interview I harped a bit on my impression that Emigre’s changes reflect a need to please us [designers] to continue subscribing to their publication and purchasing their fonts. Rudy cleared that matter, and put my concerns to rest that Emigre was “selling out.” '
As part of their 2011 graduation projects from Berghs School of Communication in Stockholm students dissected, discussed, learned and listened how overcoming the fear of failure is the only path to take if you're aiming for success. Video interviews with Milton Glaser, Stefan Sagmeister, Michael Wolff, Wally Olins, and 12 other creatives.
Rudy VanderLans was born in the Hauge, The Netherlands in 1955 and studied graphic design at the Royal College of Fine Arts. He moved to California from the in 1981 and studied photography at UC Berkeley, where he met the Czech-born designer Zuzana Licko. They married in 1983. In 1984 VandeLans launched Emigre magazine. VanderLans and Licko were some of the first designers to adopt the Macintosh computer as a tool. In addition to their quarterly magazine, Emigre creates and sells hundreds of digital typefaces. Nearly 20 years and 64 issues later, Emigre continues to fuel imaginations and inspire designers the world over. Interview with Plazm Magazine.
Graphic designer, curator, artist, educator and writer, Ellen Lupton is perhaps best known for her Thinking With Type—a book that in many respects opened up typography to a wider audience. Many have remarked that she made learning about typography fun; and ‘do I look fat in this paragraph’ and ‘typography is what language looks like’ are now oft-quoted phrases. She also stirred up some controversy over her Free Fonts Manifesto. Interview at I love typography.