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.
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’.
Type design cannot be completed by anyone. It takes a rare breed to sit tirelessly in front of drawings of counters, bridges, shoulders, and punctuation. The complete system of ABC and 123 amounts to a visual communication that is at onetime complex, but when utilized taken for granted. Typographers make language visible. Form is content. Here, Claude Garamond shares some of his ideals, passions, and excitement. Funny stuff!
In 1990 Sheila Levrant de Bretteville became the new director of studies in graphic design at Yale University School of Art. Since the late 1950s, the Yale program had been a bastion of modernist theory, a conduit between designers in the U.S. and the program in graphic design at the Kunstgewerbeschule in Basle, directed by Armin Hoffmann. For over thirty years, graduates of these distinguished programs have profoundly influenced American design through their professional work and their teaching.
'Print had brought Vignelli and Benguiat together because they looked like oil and water on paper. But rather than debate one another they surprised us by ganging up on Emigre magazine (1984–2009) as a symbol of the computer's destructive influence on contemporary typography. What follows is an almost complete rerun of the 9,000-word original published version. Parts that have been skimmed away are indicated by ellipses (...).'