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."
A picture might be worth a thousand words but a good logo is a promise. Graphic design should be functional, in an accessible form....
Sometimes, we all need some help. Emily Ruth Cohen consults with small to mid-size creative firms and in-house corporate design departments. This breadth of experience gives her insight into a wide range of issues that face creative businesses.
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.
You’ll see his typefaces on the Paris Métro, gracing the pages of France’s premier newspaper, Le Monde, in magazines and books; even Beyoncé uses them. He was awarded the Prix Charles Peignot for excellence in type design, was president of ATypI, designed one of the best modern-day type revivals, and…. Well, there’s so much more that can be said by way of introducing this great talent of type, but I think John D. Berry sums him up best when he writes, he is one hell of a type designer. Interview with I Love Typography.
Designer and programmer Jürg Lehni analyses the evolution of typographic technology and the nature of digital fonts. An essay complemented by interviews with Peter Biľak, Erik Spiekermann and Dimitri Bruni (NORM).
Roman Cieslewicz was born in Lwow, Poland in 1930. A professional militant, Cieslewicz avoids the groups that are active and influential in France: the admen, the Swiss school, the ‘politicos’. Yet it was he who introduced the Polish poster to the country, unleashing all those influences which continue even now to determine French poster design, particularly in the political, social and cultural fields.