Designer Stefan Sagmeister lives in the the city of his dreams, creating work for the Rolling Stones and Jay-Z. Yet, he suspects there must...
After more than 10 years, Verena Gerlach has revised and extended her FF Karbid super family, an interpretation of German storefront lettering from the early 1900s.
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.
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. In this second movie, Crouwel talks in more depth about stages of his career.
'I Wonder' is a book that turns heads. As I read it on rail journeys to and from work, I notice many people around me sneaking glances at it, wondering what this sumptuously decorated tome was. Theirs is an entirely appropriate response to a book of essays by the Canadian artist Marian Bantjes, beginning with one on the sense of wonder, then turning into a journey of contemplation on subjects ranging from honour and remembrance to hideous signage in Saskatoon, a city in central Canada, and Santa Claus.
Just van Rossum and Erik van Blokland make up the formidable typographic duo LettError. They both came out of the Royal Academy of Fine and Applied Arts in The Hague, the educational institution in the Dutch capital that turns out type-face designers. Both in their mid-twenties, they have already come a long way professionally. After working at MetaDesign in Berlin for a few years when they were fresh from the academy, they spent time at David Berlow's The Font Bureau Inc. in Boston, Adobe Systems in Mountain View, California, and many other type shops. Not always together, but constantly in touch, they have jointly designed typefaces, written programs, created onscreen movies, performed at conferences, and generally made themselves known among font mongers, online freaks, and ResEdit hackers. Wired sent Erik Spiekermann to meet the two and to suss out their take on typography today.
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.
'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.'
Latitude strongly believes in design for social good. Check out their beautiful branding work for Healing Haiti—a bakery and job creation center.The leaders and...
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.
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.