“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.”
Some people say that thanks to the digital era, and mostly to cultural globalization, now we have a universal design language: universal codes of colors, icons, and so on. How does it fit with the original concept of Emigre, a magazine that shows how diverse the works from emigrants may be?
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.
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."
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.
Dezeen interviewed Dutch graphic designer Wim Crouwel on the eve of the opening of the 2011 exhibition 'Wim Crouwel – A Graphic Design Odyssey' at the Design Museum in London. The interview consists of two videos. In this first movie, which was filmed at the Andaz Hotel in London, Crouwel talks about the exhibition as well as wallpaper and a rug based on his typographic designs that feature in a room at the hotel.
On the occasion of his first New York retrospective, SAGMEISTER: MADE YOU LOOK, which ran at the School of Visual Arts end of 2004, the artist and designer was asked to reflect on his past and recent accomplishments. While tooting his own horn is not a favorite pastime, we did manage to get a few choice notes. Conversation with Steve Heller for AIGA.
Tomato… A house hold name in our industry. This multi-disciplinary collective tackles almost anything creative. Among the mediums most noted would include; typography, graphic design, architecture, filmmaking, and the music of Underworld. We caught up with Graham Wood, Steve Baker, and Jason Kedgely and were able to get these kind gentlemen to 'speak up’.