Reza Abedini is one of the key figures who helped pave the way for contemporary graphic design in today’s Iran. In his work he...
Perhaps no one has had a greater affect on the way information—printed and electronic—is presented today than Muriel Cooper. As founder and co-director of MIT’s Visual Language Workshop, her explorations into the interactions between technology and design broke new ground in both graphic design and computer interface development. She designed covers for more than five hundred books, over one hundred of which have won design awards, and she was the second recipient of the American Institute of Graphic Design leadership award.
He has never made or produced a record, but Peter Saville is one of the most important people in British pop. Saville’s sleeve designs for OMD, Roxy Music and most famously, for Factory records have changed the way that we think about pop music. Along with his schoolfriend, Malcolm Garrett (the man responsible for the early Buzzcocks’ sleeves), Saville was a major player in a graphic design revolution that converged with the convulsions that were happening in pop at the end of the 1970s. If Jamie Reid’s cut and paste covers were the image equivalent of the punk sound, then Saville and Garrett’s more abstract, impersonal designs were the visual analogue of post-punk.
'I’ve been here for nine years. I’m art director of Rolling Stone, and for the last couple of years, I’ve been creative director of the whole company. We publish US and Men’s Journal and some books. I keep the other two magazines staffed, and last year I was involved with changing the format of US. Mens Journal is being redesigned by David Amario. Richard Baker is art director of US. I design about two books a year, and whatever Jann [Wenner] has in his head.'
Matthew Carter is one of the preeminent contemporary typographers. His work is both ubiquitous (his typefaces Georgia and Verdana were commissioned by Microsoft and now grace computer screens around the world) and revolutionary (his Walker Art Center commission resulted in the creation of a series of alphabets with “detachable” serifs). Carter has been involved in typography in one way or another for most of his life. He has lived through the passing of numerous typographic eras, and at each juncture he has embraced both the latest technology and the new forms created by young designers. In addition to teaching at Yale University School of Art in the Graphic Design department, Carter operates Carter & Cone, a typographic studio and consultancy based in Boston.
My position as a museum curator is a rare one—there are only a handful of design curators around the country, at institutions including the Museum of Modern Art in New York and the San Francisco Museum of Modern Art. However, there are more and more opportunities for designers to develop and use their skills as writers/editors/publishers, and for literary people to engage the processes of design. This is a broader cultural development with relevance beyond my own particular experience.
Rational and responsive, the work of Richard Hollis exemplifies a very British kind of Modernism. 'The ideal situation is where you sit with the client and design with them. If anything is emphasised, it’s what they want to emphasise. I prefer collaborative effort to doing what I want. It’s diametrically opposite to being an artist.’
Massimo Vignelli, born in Milan, studied architecture in Milan and Venice. He came to the United States from 1957 to 1960 on fellowships from Towle Silversmiths in Massachusetts and the Institute of Design, Illinois Institute of Technology, Chicago. In 1960, with Lella Vignelli, he established the Vignelli Office of Design and Architecture in Milan.
Designers Carol Devine Carson in conversation with Ellen Lupton about her work at Knopf Publishers.
'Plazm was formed by a group of artists dissatisfied with avenues of expression available to them. Actually when we first started meeting, we didn't know were going to form a magazine. There were writers, photographers, illustrators, and designers all coming to these open-ended weekly gatherings. We were talking about things like media control and how we'd like to see artists representing artists. These discussions led to the launch of Plazm magazine.'
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.
'They were Frank’s identities, and he controlled them . . . I was really just satisfying these various concepts.' The beginning of Cal Schenkel’s story reads like a rock’n’roll fantasy that Cameron Crowe forgot to film. In 1966 he was a nineteen-year-old kid hitch-hiking in LA when a jeep full of girls picked him up and dropped him at a rock’n’roll recording session. The rock bandleader was Frank Zappa and the record was his debut: Freak Out! by The Mothers of Invention. The two men met in passing but wouldn’t see each other again for another year. Interview with Eye Magazine.
George Lois is a pioneering advertising executive and designer best known for a series of covers he created for Esquire magazine between 1962 and 1972 (some of which were featured in an exhibit at the Museum of Modern Art in 2008). He coined the phrase "I want my MTV!" created a new gourmet frozen foods marketing category with Lean Cuisine, and has devised memorable ads for companies ranging from Jiffy Lube to USA Today to Tommy Hilfiger. He is also the author of nine books about advertising and design, including "George, Be Careful," "$ellebrity," and "Iconic America."