Instant noodles are a key ingredient in the decade-long story of communication design studio Anonymous. It kept founders Felix Ng and Germaine Chong alive for a week while they waited for clients to pay their bills. But even before that low point in their early design days, instant noodles imparted a key lesson in design for the fledgling Singapore studio.
The NBC peacock. Chase Bank's blue octagon. Mobil Oil's arresting red O. PBS's poetic silhouettes of "Everyman."Chermayeff & Geismar's visual identities are instantly recognizable...
Pick up a book, magazine or screen, and more than likely you'll come across some typography designed by Matthew Carter. In this charming talk, the man behind typefaces such as Verdana, Georgia and Bell Centennial (designed just for phone books — remember them?), takes us on a spin through a career focused on the very last pixel of each letter of a font.
As part of their 2011 graduation projects from Berghs School of Communication in Stockholm students dissected, discussed, learned and listened how overcoming the fear of failure is the only path to take if you're aiming for success. Video interviews with Milton Glaser, Stefan Sagmeister, Michael Wolff, Wally Olins, and 12 other creatives.
I first came across the London-based (and wonderfully-named) design studio We Made This by way of founder Alistair Hall’s prodigious collections of ephemera and found type on Flickr. The chances are I found these either via Ace Jet 170, a fellow designer and collector (and cyclist) who I interviewed last week, or Alistair’s page on Ffffound. It wasn’t until later than I discovered that We Made This also designed book covers and had actually worked with David Pearson on several covers for Penguin’s Great Ideas series.
Type designer Matthew Carter is principal of Carter & Cone Type Inc. He is also a Royal Designer for Industry, and a Senior Critic...
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?
Kurt Weidemann was one of the most influential typographers of the 20th century. Weidemann helped form the identities of companies such as Mercedes-Benz, Porsche, Zeiss, and Deutsche Bahn, changing their corporate designs not only for the better, but for the best.