For issu by Alex West

LEADING GRID

Alex West | Visc 202 | Fall 2017

Oct. 2

Craig McDean Research Word List and Exploration

As one of the most prominent fashion photographers within the industry, Craig McDean boasts an impressive portfolio comprised of advertising campaigns for luxury brands such as Alexander McQueen, Chloé, Elie Saab , Alexander Wang and J Brand. Commissed by American Vogue since 2002, McDean has also contributed to several international editions of the fashion publication alongside magazines such as Interview, Love, W and AnOther. The celebrated photographer is also known for his series of black and white portraits of influential industry insiders and celebrity personalities. In recognition of his work, McDean was awarded and ICP Infinity Award for fashion advertising in 2008. Initially training as a mechanic, McDean discovered photography while shooting portraits of friends from his hometown. Inspired, the young creative attended Blackpool & Fylde College of Further & Higher Education to pursue a course in photography before moving to London in 1989. Securing a position as an assistant for Nick Knight , then picture editor of i-D, McDean began building his credentials through shoots he covered for McKnight and in 1991 began to freelance for publications such as The Face. Following a brief tenure in Japan in 1993, McDean relocated to New York in 1995 where he began working on his first high profile campaign shoots with designer Jil Sander . In 1997, the British native was selected by Calvin Klein to produce the images for all nine of its upcoming campaigns, catapulting McDean’s presence within the fashion industry and by 2007 the established photographer was said to be earning upwards of $100,000 per day. McDean has also published three books throughout his career, beginning with ‘I Love Fast Cars’ in 1999 and ‘Lifescapes’ in 2004. His 2011 release of ‘Sumo’ depicting images of sumo wrestlers taken during his year in Japan was also featured in an exhibition at the Half Gallery in New York. He lives in New York with wife, Vogue contributing editor Tabitha Simmons, and their two boys. Craig McDean is one of our most prolific and innovative photographers, renowned for his influential fashion images and portraiture. His career began in London, where he was a part of a new generation of photographers working for the cultural touchstones i-D and the Face. McDean currently lives in New York, and has photographed major campaigns for such international fashion and beauty brands as Christian Dior, Gucci, Yves Saint Laurent, Giorgio Armani, Estee Lauder, and Calvin Klein. He regularly contributes to a range of publications including W, American, French, British and Italian Vogue, Another Magazine, and Interview.

Craig McDean

In 1999, McDean made his book publishing debut with I Love Fast Cars, his homage to the world of American drag racing and the community who love it. In 2004, his second book, Lifescapes, an early masterwork of digital photography, was published by Steidl/Dangin. His 2011 book, Sumo, was accompanied by exhibitions in New York and Paris. His latest book, Amber, Guinevere, and Kate Photographed by Craig McDean: 1993-2005, was published by Rizzoli in 2013 and focuses on his relationship with the three models during an era-defining moment in fashion and culture. He is a 2008 recipient of the ICP Infinity Award, and his work has been exhibited at the Museum of Modern Art in New York and the Museum of Fine Arts in Boston. It’s not exactly weird that Interview Magazine have done a cracking photo shoot for one of their famous Q&A’s, it happens so frequently that it’s almost taken for granted. In this particularly spectacular shoot, photographer Craig McDean has managed to get Thom Yorke into a room and capture the man himself doing what he does best — being simultaneously, effortlessly beautiful and weird. Compared to the borderline-hysterical photoshoots from the 90s which managed to capture the band’s cool, moody status, this more grown up look at Thom Yorke is a perfect series of portraits of one of the most influential men in the history of music, and it’s all down to the incredibly clever Craig McDean. Check out the rest of his star-filled portfolio over on Art + Commerce

Craig McDean was born in Manchester, England in 1964. He lived and studied photography in London where he collaborated with i-D Magazine and The Face. He has since photagraphed campaings for Calvin Klein, Chloé, Yohi Yamamoto, Jil Sander and Yves Saint Laurent. His work can also be seen in publications such as Vogue, Italian Vogue and W. In 199 he published a book of his fine art photographs entitled I Love Fast Cars. He now lives and works in New York City. Born in 1964, McDean started his career by taking pictures of his rocker friends in North of England and working as a mechanic, before assisting iconic eccentric photographer Nick Knight in London. Later on, he started shooting stories for i-D and The Face McDean originally trained and worked as a car mechanic before studying photography at Mid Cheshire College (OND) and Blackpool and The Fylde College of Further & Higher Education (PQE) where he took photography classes before he dropped out and moved to London. [1] McDean began his photographic career in London as a photographer’s assistant to photographer Nick Knight.[1] His early editorial work was featured in magazines such as i-D and The Face, which led to advertising campaign work for clients such as Jil Sander and Calvin Klein, and editorial commissions with Harper’s Bazaar and Vogue.More recently, McDean has photographed fashion campaigns for clients including Gucci, Giorgio Armani, Emporio Armani, Oscar de la Renta, Yves Saint Laurent, Calvin Klein, and Estée Lauder. His editorial spreads are regularly featured in magazines including Vogue, W, and Another Magazine. Although primarily a fashion photographer, McDean has photographed portraits of celebrities including Björk, Madonna, Natalie Portman, Justin Timberlake, Jennifer Aniston, Joaquin Phoenix, Hilary Swank, Uma Thurman, Gael García Bernal and Nicole Kidman. In 2008, McDean was given an Infinity Award for Applied/Fashion/Advertising Photography by the International Center of Photography. McDean is married to former model and stylist Tabitha Simmons, who is also a contributing fashion editor with Vogue. The couple lives in Chelsea, Manhattan. [1] He is represented by Art + Commerce in New York.[2] Craig McDean was born in Middlewich near Manchester in 1964. He first started working as a car mechanic but quickly changed his mind and attended the Mid Cheshire College where he studied photography instead, a medium he first used when he started taking pictures of his rocker friends in his home town.

He then decided to move to London and became Nick Knight’s assistant. He first caught people’s attention when he began shooting for the magazines i-D and The Face. Soon after, he started working with many other high profile magazines, amongst which, the British, French and Italian editions of Vogue, W, Harpers’ Bazaar and Another Magazine.He published his first book “I Love Fast Cars” in 1999, and his second one “Lifescapes” six years later. McDean’s work is truly appreciated amongst celebrities and he has been working with many of them, including Madonna, Scarlett Johanson, Natalie Portman, Björk, Justin Timberlake, Joaquin Phoenix, Uma Thurman, Nicole Kidman, Jennifer Aniston, Gael Garcia Bernal and Hilary Swank. He has also been working on many different advertising campaigns for Jil Sander, Calvin Klein, Estée Lauder, Giorgio Armani, Emporio Armani, Oscar de la Renta, Yves Saint Laurent, and Gucci to only name a few.The International Center of Photography awarded him the ICP Infinity Award for Applied, Fashion and Advertising Photography in 2008. McDean is today based in New York where he is represented by Art + Commerce. He lives with his wife, the stylist Tabitha Simmons. With energy and glamour, iconic photographer Craig McDean captures the celebrated evolution of fashion’s biggest muses: Kate Moss, Guinevere van Seenus, and Amber Valletta. With their waiflike frames and unique features that contrasted with the supermodels of the ’80s, Amber, Guinevere, and Kate became the anti-supermodels that, alongside grunge, signified a global shift in culture. And Craig McDean, an artist with a talented eye for the striking and unusual, photographed them from their beginnings. McDean, whose works are praised for their conceptual and sophisticated edge, is well respected in both the photography and fashion worlds. Shot on film from 1992 through 2002, this roughly chronological volume of 150 color and black-and-white images includes never-before-published photographs, outtakes from famous shoots, and contact sheets. Texts by Mathias Augustyniak of M/M (Paris) and author Glenn O’Brien add depth and perspective to the works. The photographs within this volume capture the essence of an era that changed fashion forever and will be treasured by fashion, style, and photography lovers from all generations. Craig McDean is a photographer and filmmaker renowned for his fashion imagery and portraiture. He has photographed for Dior, Gucci, Yves Saint Laurent, Calvin Klein, and Vogue. He is a 2008 recipient of the ICP Infinity Award. Mathias Augustyniak, along with Michael Amzalag, established M/M (Paris) in 1992. Glenn O’Brien is a writer on art, music, and fashion. He has worked as an editor at Interview and a number of other publications.

angled life editorial peculiar

journey relationship simple insane clean

upfront

symbolic immortality chill eternity love determination truth stillness rebellion gaze mingled breath stuport

vulnerable body 6

Craig McDean / Jason Rider / New York Times

abstract quirky outgoing confidence interesting cool organic grey posture interpretation color colorless wacky

static electric crazy beyond

intimate warm solid soft dark light fashion chic

Vulnerable Abstract

open to moral attack, criticism, temptation, etc.: an argument vulnerable to refutation; He is vulnerable to bribery.

Rebellion

open, organized, and armed resistance to oneâ&#x20AC;&#x2122;s government or ruler. resistance to or defiance of any authority, control, or tradition.

Eternity

Fine Arts. of or relating to the shapes or forms in a work of art that are of irregular contour and seem to resemble or suggest forms found in nature.

infinite time; duration without beginning or end. Theology. the timeless state into which the soul passes at a personâ&#x20AC;&#x2122;s death.

Static

Organic

Fine Arts. of or relating to the formal aspect of art, emphasizing lines, colors, generalized or geometrical forms, etc., especially with reference to their relationship to one another. (often initial capital letter) pertaining to the nonrepresentational art styles of the 20th century.

pertaining to or characterized by a fixed or stationary condition. showing little or no change:

Oct. 4 Pecha Kucha Word Combinations Article Titles

Pecha Kucha

Craig McDean

Statuesque

e. 13

Bold

Clean.

â&#x20AC;&#x153;Craig McDean is one of our most prolific and innovative photographers, renowned for his influential fashion images and portraitureâ&#x20AC;?

“McDean’s work is truly appreciated amongst celebrities”

“An artist with a talented eye for the striking and unusual.”

COMBINATIONS Chic Interpretation Untouchable Rebellion Honest Vulnerable Upfront Immortal Upfront Intimate Fashion Journey

TITLES Untouchable Rebellion Chic Interpretations Upfront Immortality Editorial Journey Honest Vulnerability Upfront Intimacy

Oct. 9

Historical Photographer Designer Research

Richard Avedon Born and raised in New York City by a family involved in the fashion world, Avedon took an interest in fashion and photography from an early age. He attended DeWitt Clinton High School where he managed the school’s literary magazine, The Magpie, with fellow classmate and long time friend, James Baldwin. Avedon enrolled in Columbia University, but dropped out after one year to serve in the Merchant Marines during World War II. As a Marine, his primary duty was to photograph sailors for identification portraits. After fulfilling his military duties, Avedon attended the New School of Social Research to study under Harper’s Bazaar’s art director, Alexey Brodovitch in1944. The photographers quickly developed a close relationship and after one year of working together, Brodovitch hired him as staff photographer for the magazine. After a few years of photographing daily life in New York, Avedon was given the assignment of covering the notorious fashion week in Paris. Throughout the next ten years, he photographed the models out and about in the city of Paris, posing in places like cafes and streetcars. Avedon worked at Harper’s Bazaar for twenty years, and left to work for another notable fashion magazine, Vogue, where he remained for almost twenty-five years. In addition to his work in the fashion world, Avedon was a master in portraiture and worked in political photography as well. He photographed countless icons such as Dr. Martin Luther King, Jr., Marilyn Monroe, the Beatles, and President Eisenhower. In addition to working in fashion and portraits, Avedon published over a dozen books including two of his most famous works, Observations and Nothing Personal, which contain collections of his photographs with commentary and essays from noteworthy colleagues. After finishing his career at Vogue in 1990, Avedon became the first staff photographer of the New Yorker where he aspired to “photograph people of accomplishment, not celebrity, and help define the difference once again”. Avedon died on October 4, 2004 while on assignment for the New Yorker. Avedon had been married and divorced twice and is survived by his son, John, and four grandchildren.

Richard Avedon’s controversial and provocative pictures challenged the traditional photography of his time, and helped turn photography into an expressive art form. One of his most iconic pieces is entitled “Dovima with Elephants”, which includes the model wearing an elegant Dior gown while posing with two elephants at a circus. His portraits were highly renowned for not only his unique black and white style, but also his ability to capture raw, intimate emotion while still maintaining a sense of formality. His photographic ability was extremely versatile as he worked in the political field and medical field, in addition to his fashion and portrait work. He photographed civil rights activists and Vietnam soldiers and also created a collection of portraits of his terminally ill father that appeared in Museum of Modern Art in 1974, and later in the Marlborough Gallery. A collection of his work over the span of his career titled “Richard Avedon: Photographs 1947-1977”, was presented at the Metropolitan Museum of Art before traveling to different museums all over the world. He has received countless awards for his work including The Royal Photographic Society’s Special 150th Anniversary Medal and Honorary Fellowship in 2003, and was named one of the top ten greatest photographers in the world by Popular Photography magazine. In addition to his collections and honors, Avedon left behind a commendable legacy in the Richard Avedon Foundation. The foundation, created by Avedon and maintained by his surviving family, serves as a kind of archive of all of his work and “encourages the study and appreciation of Avedon’s photography through publications, touring exhibitions, and outreach to the academic community”. Avedon also inspired the 1957 film, Funny Face, in which the main character is based on his own life. Richard Avedon was passionate about photography and devoted his life to capturing the reality of his subjects. He is one of the most famous photographers of all time because of his groundbreaking photographic techniques and push towards turning photography into more than just pictures by expanding the fashion world and turning the photography genre into a unique art form. By Kyerstin Hill, Marquette University, for IPHF

Susan Sontag

and drawings. Photographed images do not seem to be statements about the world so much as pieces of it, miniatures of reality that anyone can make or acquire. Photographs, which fiddle with the scale of the world, themselves get reduced, blown up, cropped, retouched, doctored, tricked out. They age, plagued by the usual ills of paper objects; they disappear; they become valuable, and get bought and sold; they are reproduced. Photographs, which package the world, seem to invite packaging. They are stuck in albums, framed and set on tables, tacked on walls, projected as slides. Newspapers and magazines feature them; cops alphabetize them; museums exhibit them; publishers compile them. For many decades the book has been the most influential way of arranging (and usually miniaturizing) photographs, thereby guaranteeing them longevity, if not immortality — photographs are fragile objects, easily torn or mislaid — and a wider public. The photograph in a book is, obviously, the image of an image. But since it is, to begin with, a printed, smooth object, a photograph loses much less of its essential quality when reproduced in a book than a painting does. Still, the book is not a wholly satisfactory scheme for putting groups of photographs into general circulation. The sequence in which the photographs are to be looked at is proposed by the order of pages, but nothing holds readers to the recommended order or indicates the amount of time to be spent on each photograph. Chris Marker’s film, Si j’avais quatre dromadaires (1966), a brilliantly orchestrated meditation on photographs of all sorts and themes, suggests a subtler and more rigorous way of packaging (and enlarging) still photographs. Both the order and the exact time for looking at each photograph are imposed; and there is a gain in visual legibility and emotional impact. But photographs transcribed in a film cease to be collectable objects, as they still are when served up in books. Photographs furnish evidence. Something we hear about, but doubt, seems proven when we’re shown a photograph of it. In one version of its utility, the camera record incriminates. Starting with their use by the Paris police in the murderous roundup of Communards in June 1871, photographs became a useful tool of modern states in the surveillance and control of their increasingly mobile populations. In another version of its utility, the camera record justifies. A photograph passes for incontrovertible proof that a given thing happened. The picture may distort; but there is always a presumption that something exists, or did exist, which is like what’s in the picture. Whatever the limitations (through amateurism) or pretensions (through artistry) of the individual photographer, a photograph — any photograph — seems to have a more innocent, and therefore more accurate, relation to visible reality than do other mimetic objects. Virtuosi of the noble image like Alfred Stieglitz and Paul Strand, composing mighty, unforgettable photographs decade after decade, still want, first of all, to show something “out there,” just like the Polaroid owner for whom photographs are a handy, fast form of note-taking, or the shutterbug with a Brownie who takes snapshots as souvenirs of daily life.

While a painting or a prose description can never be other than a narrowly selective interpretation, a photograph can be treated as a narrowly selective transparency. But despite the presumption of veracity that gives all photographs authority, interest, seductiveness, the work that photographers do is no generic exception to the usually shady commerce between art and truth. Even when photographers are most concerned with mirroring reality, they are still haunted by tacit imperatives of taste and conscience. The immensely gifted members of the Farm Security Administration photographic project of the late 1930s (among them Walker Evans, Dorothea Lange, Ben Shahn, Russell Lee) would take dozens of frontal pictures of one of their sharecropper subjects until satisfied that they had gotten just the right look on film — the precise expression on the subject’s face that supported their own notions about poverty, light, dignity, texture, exploitation, and geometry. In deciding how a picture should look, in preferring one exposure to another, photographers are always imposing standards on their subjects. Although there is a sense in which the camera does indeed capture reality, not just interpret it, photographs are as much an interpretation of the world as paintings and drawings are. Those occasions when the taking of photographs is relatively undiscriminating, promiscuous, or self-effacing do not lessen the didacticism of the whole enterprise. This very passivity — and ubiquity — of the photographic record is photography’s “message,” its aggression. Images which idealize (like most fashion and animal photography) are no less aggressive than work which makes a virtue of plainness (like class pictures, still lifes of the bleaker sort, and mug shots). There is an aggression implicit in every use of the camera. This is as evident in the 1840s and 1850s, photography’s glorious first two decades, as in all the succeeding decades, during which technology made possible an ever increasing spread of that mentality which looks at the world as a set of potential photographs. Even for such early masters as David Octavius Hill and Julia Margaret Cameron who used the camera as a means of getting painterly images, the point of taking photographs was a vast departure from the aims of painters. From its start, photography implied the capture of the largest possible number of subjects. Painting never had so imperial a scope. The subsequent industrialization of camera technology only carried out a promise inherent in photography from its very beginning: to democratize all experiences by translating them into images. That age when taking photographs required a cumbersome and expensive contraption — the toy of the clever, the wealthy, and the obsessed — seems remote indeed from the era of sleek pocket cameras that invite anyone to take pictures. The first cameras, made in France and England in the early 1840s, had only inventors and buffs to operate them. Since there were then no professional photographers, there could not be amateurs either, and taking photographs had no clear social use; it was a gratuitous, that is, an artistic activity, though with few pretensions to being an art. It was only with its industrialization that photography came into its own as art. As industrialization provided social uses for the operations of the photographer, so the reaction against these uses reinforced the self-consciousness of photography-as-art.

Alexey Brodovitch Born in Russia, 1898, and the child of well-off parents, Alexey Brodovitch was known for being the art director for Harper’s Bazaar. He played an important role for starting the simplified, modern graphic design style that was developed in Europe. Brodovitch inspired a generation of designers to create work with visual freshness and immediacy. He didn’t want anything to be used before or overused, everything had to be original. As seen in much of his layouts, Brodovitch had a pashion for phogoraphy. He made it the backbone of modern magazine design. Brodovitch is described as the model for the modern magazine art director. His active role within his designs are what made him stand out as a director. His work showcased young talent, as well as his. He often times found assistants to help him with his work. His use of photos and design developed the primal style of picture-taking that became the dominant style within the 1950s. Brodovitch’s unique style is very known through his editorial layouts within the Harper’s Bazaar. He was known to manipulate text to enhance and mimic images within the design. As talented and well-known as he was, Brodovitch was never a happy man. He had to flee Russia because of the defeat in war. He later settled down in Paris with his family and then found his wife. Starting over in Paris, he discovered his work within poster design, where he won many awards, forming his love for design and layout. In 1930, he and his wife moved to America. There, he started a department of advertising which later became the Philadelphia College of Art. Here, he instructed students on European design. At the same time, he was also taking freelance jobs. When landing the role of Harper’s Bazaar art director, Brodoovitch utilized many classical artists work within his designs. He utilized many impactful artists such as Man Ray, Salvador Dali, and A.M. Cassandre. He also utilized photographers such as Bill Brandt, Brasai, and Henri Cartier-Bresson.

Although Brodovitch is mainly recognized for his work within Harper’s Bazaar, he also created other publications. He created a short and influential magazine Portfolio which were published from 1949 to 1950. These small issues contained illustration work from many artists such as Charles Eames, Paul Rand, Sal Steinberg, and Alexander Calder. Throughout his career, Brodovitch did both magazine work for Harper’s Bazaar and taught. I think teaching was one thing in Brodovitch’s life that brought him joy. Many of his “design laboratories” focused on use of illustration, graphic design, and photography within editorial and print work. He was an inspiring teacher, and many looked up to him, but that didn’t mean he wasn’t harsh and critical towards his students. Shortly after years of working at the magazine, Brodovitch moved to Paris and settled down where he passed away in 1971. His classical work will forever be looked at as the basis to good magazine design today. He truly was the developer of the classic magazine spread and design and will forever be known for that.

David Carson

Born in Corpus Christi Texas, David Carson is an American graphic designer who embraced type and with an unconventional style, revolutionized design in the 1990s. He spent most of his life in Southern California where he was a high school teacher for a short time. In the beginning, Carson didn’t have an interest in design, he actually trained to be a professional surfer. His passion for surfing strove his work with many reputable surfing brands such as Quiksilver, Burton, and SURFportugal. During the 90s, grunge typography design was a popular movement. It consisted of words, textures, and backgrounds that formed posters and ads for various things with an interesting take on typography style. However, it wasn’t always welcomed. Established minimalist and clean designers did not embrace this movement, due to it’s chaotic nature. During this time, digital tools were advancing. Designers could now make and manipulate form through direction action. Programs like PageMaker and QuarkXPress topped the markets for designing software. Carson stated:

“It’s the basic decisions, like images, cropping, and appropriate font and design choices, that make design work, not having the ability to overlap or play with opacity” So although these software were very helpful, they were only a small aspect of designing. Many magazines used these software to slowly develop their overall designs. Carson is heavily known for the magazines he has designed, but his art direction and typographic designs in Ray Gun were very iconic and important works within his career. His designs within the magazine aimed towards the important aspects and categories the magazine focused on: artists, pop culture, lifestyle, advertising, and celebrity icons. In 1989, Carson became art director for Beach Culture where he won 150 awards for his designs. In 1995, Carson established David Carson Design in New York City. With many corporate clients, Carson’s design firm has been very profitable. He has worked with diverse clients in the worlds of fashion, entertainment, and products including Nike, Toyota, and MTV. Another memorable project of Carson’s work is The Book of Probe. A project where hundreds of his unpublished photos of early work which consists of quotes from books, notes from lectures and conferences, and articles. In 2014 Carson was awarded the AIGA Medal for is work. He has produced many different mediums of work including books, ad campaigns, videos, and magazines. Many of his Ray Gun layouts make me think

outside of “typical” magazine layout. I can clearly see that his layouts, he completely ignores the grid and any attention to clean and organized design. Carson’s rise into graphic design was something I found super interesting as well. He didn’t have his heart set on the art, he just thought it was something cool he discovered at the age of 26. However, aside from having a degree in sociology, all it took was a two-week workshop to the University of Arizona to get him started on his lifelong passion. His work and technique on embracing grunge typography changed the perspectives on what exactly good design was. Although his style may not be embraced by everyone, it is still used today.

Tibor Tibor Kalman was a graphic designer whose ideas about art and society changed the way designers and clients viewed the world of design. He was a very influential designer who attended NYU where he studied journalism. However, he didn’t stick with this career path and dropped out to work for a small book store, which eventually became Barnes and Noble. Because of this relationship, he became art director of their in-house design firm. During his career, he was labeled a bad boy due to his harsh critic of professional design. Kalman was very focused on how designers work was influenced by the surrounding culuture. His work with the publications Interview and Colors labeled most of his work provocative for his use of obscene images and color. Colors is a publication found in 4 different languages. Kalman became the founding editor-in-chief of the magazine, which during that time, he made every publication cover a controversial and pressing issue. Kalman was the founder of M&Co., along with Carol Bokuniewicz and Liz Trovato in 1979, a New York design firm that became one of the most popular design firms in the world. It was named after his wife Maira. Much of the work from this firm was labeled “Imaginative and witty.” They have created work that is in the collections of the Museum of Modern Art and the National Design Museum. M&Co. as a company focused on stationery, ID Systems, and media artwork like album covers. They also developed their own brand of watches and paperweights.

Kalman Looking through his notes and his old layouts, I could tell that he often times followed a loose grid. Much of the items on his page layouts didnâ&#x20AC;&#x2122;t have organic shapes, but were often found as squares and circles. However, the type choices within the publication was often consistent. The mix of Sans Serif and Serifs is clearly seen well-executed and balanced on each spread. This almost contrasted to the work seen on the covers of the Colors magazines. With his series of controversial issue series, Kalman used lots of photography based covers that drew the audiences attention to the magazine. His designs and use of photography was not hidden, but the complete opposite. It was blunt and honest. This also contrasted with his later issues. The first 80 magazines were mainly photography based covers that drew attention to them because of the impactful contrast, but after that you can tell there is a change in Kalmanâ&#x20AC;&#x2122;s direction of cover choice. They are taking a more graphic base approach, many of them being a busy, illustrated design on a solid color background. This change in design spoke to us about his change in perspective of design. He always imbraced the world and what was going on and that was an important factor within his designs. Kalman liked to focus not on good design, but design that supported a message that led to action. Kalman passed away when he was 49 in Puerto Rico. His work will forever be remember as impactful and emotional for it tested the meaning of what is design.

Gail Anderson

A New York-based designer, Gail Anderson is a designer and writer. She is currently working with Joe Newton at Anderson Newton Design. In her early career, Anderson people didn’t recognize her for her work, but she was described as “incredibly eloquent, with her typography work with Rolling Stone. Within the magazine, Anderson acquired many positions. She started as an associate and worked her way up to senior art director. From 2002 to 2010, she served as Creative Director for SpotCo, an advertising agency, and has also worked for Rolling Stone and The Boston Globe Sunday Magazine. She has received many awards from design organizations including the Society of Publication Designers, the American Institute of Graphic Arts, and the Art Directors Club. Today, Anderson teaches in the School of Visual Arts MFA and is an author of many books including The Typographic Universe and New Modernist Type. Anderson’s work has received awards from major design organizations, including the Society of Publication Designers, the Type Directors Club, The American Institute of Graphic Arts, The Art Directors Club, Graphis, Communication Arts, and Print. In addition, it has also been included in the permanent collections of the Cooper Hewitt Design Museum, the Library of Congress, and the Milton Glaser Design Archives at the School of Visual Arts. Anderson has been featured in magazines that include Computer Arts (UK), designNET (Korea), kAk (Russia), STEP Inside Design, and Graphic Design USA. Anderson teaches at the School of Visual Arts, and serves as design subcommittee chair on The Citizens’ Stamp Advisory Committee for the USPS, and on the board for the Type Directors Club. She is the recipient of the 2008 Lifetime Achievement Medal from the AIGA, and her work has been recognized by design organizations including The Society of Publication Designers, TDC, AIGA, The Art Directors Club, Print, Graphis, HOW and Communication Arts. Anderson is a reformed collector/ hoarder who now just looks but no longer buys.

Herb Lubalin On March 17, 1918, Herbert F. Lubalin was born in New York, United States. At the age of seventeen, he was enrolled in a privately funded college located in the East Village, Cooper Union. An array of possibilities offered by the field of typography as a communicative implement fascinated him. Lubalin learned about the fundamentals of typography and was awestruck by the impact a typeface can have if traded with another and how it affects the whole text’s interpretation. Upon receiving his graduation degree in 1939, he had a rough time searching a suitable job. He was able to get a job at a display firm, though he got sacked after requesting a two dollar raise on his weekly salary. Herb Lubalin was a advertising art director in the 1940s. Also a publication designer, Lubalin was best known for his typographics. He was a man who tested society’s perception of letter forms, words, and language. His typography-based designs enhance meanings within his designs. He has been awarded many awards for his work including the Art Director of the Year by the National Society of Art Directors. He passed away in 1981 in his home in New York. Herb Lubalin entered Cooper Union at the age of seventeen, and quickly became entranced by the possibilities presented by typography as a communicative implement. Gertrude Snyder notes that during this period Lubalin was particularly struck by the differences in interpretation one could impose by changing from one typeface to another, always “fascinated by the look and sound of words (as he) expanded their message with typographic impact.”[1] After graduating in 1939, Lubalin had a difficult time finding work; he was fired from his job at a display firm after requesting a two dollar raise on his weekly salary,

up from a paltry eight (around USD100 in 2006 currency).[2] Lubalin would eventually land at Reiss Advertising, and later worked for Sudler & Hennessey, where he practiced his considerable skills and attracted an array of design, typographic and photographic talent that included George Lois, Art Kane and John Pistilli. Pistilli Roman (1964) was Lubalin’s first typeface. Lubalin served with Sudler for nineteen years before leaving to start his own firm, Herb Lubalin, Inc., in 1964 His constant search for something new and a passion for inventiveness made him one of the most successful art directors of the 20th century. He had offices internationally in Paris and London and partnered with many talented individuals over the years including Aaron Burns, Tom Carnase, Ernie Smith and Ralph Ginzburg. A graduate of the Cooper Union in New York he spent time as a visiting professor there as well as designed a logo for them. Constantly working and achieving much success throughout his career, at the age of 59 he proclaimed “I have just completed my internship.”

Neville

Brody

Neville Brody is an English graphic Designer. He is an alumnus of the London College of Communication and Hornsey College of Art. Founder of Research Studios and a member of Fontworks, Brody’s work is included in the permanent collection of the Museum of Modern Art. Brody’s firm today, Body and Associates, has many imporant clients such as Disney, Nikon, and CocaCola. Brody’s experimentation with his self-made sans-serif typography, along with his Pop Art and Dadaism influence, caught the attention of music record companies such as Fetish Records and Stiff records after he left college. His record cover designs lead toward a grudgy and a punk scene. The album Micro-Phonies by Cabaret Voltaire was art directed by Brody in 1984. His infamous typography features on the front and a bandaged figure spouting liquid from the mouth stares blankly at the viewer. Brody made his name largely popular through his revolutionary work as an art director for “The Face” Magazine. He changed up the “basic” and “structural” rules that existed in the British culture into a more artsy and vibrant aesthetic. His designs provoked some form of emotion to the extent that people would stick to one page instead of turning pages like they would normally do when reading a novel. Other international magazine and newspaper directions have included City Limits, Lei, Per Lui, Actuel and Arena, together with the radical new look for two leading British newspapers The Guard-

ian and The Observer (both newspaper and magazine).[citation needed] Brody has pushed the boundaries of visual communication in all media through his experimental and challenging work, and continues to extend the visual languages we use through his exploratory creative expression. In 1988 Thames & Hudson published the first of two volumes about his work, which became the world’s best selling graphic design book. [citation needed] Combined sales now exceed 120,000.[citation needed] An accompanying exhibition of his work at the Victoria and Albert Museum attracted over 40,000 visitors[citation needed] before touring Europe and Japan. Amongst countless other projects, in 1989, upon request by the then-director Gerhard Coenen, to Neville Brody, the young Swiss graphic artist and typeface designer Cornel Windlin, then working at the then called “Neville Brody Studio” designed the Corporate Identity for the Haus der Kulturen der Welt (House of World Cultures) in Berlin, Germany. Subsequently, Brody, Windlin, and staff Simon Staines, Giles Dunn and others visited Berlin more than once on projects; resulting in several collaborations with Berlin-based graphic artist and typeface-designer Kolja Gruber and artist Nina Fischer for the Haus der Kulturen der Welt in the following years.

Johnathan Hoefler

Jonathan Hoefler is an American type designer who established the Hoefler Type Foundry in 1989. Hoefler worked with Tobias FrereJones for 11 years until they finally split in 2014. Hoefler has designed several remarkable typefaces for popular magazines such as Rolling stoner, Harpar’s Bazaar, and the New York Times. One of his most remarkable works is his Hoefler Text family of typefaces which he designed specifically for Apple computers. His work today is part of the Cooper-Hewitt, National Design Museum’s permanent collection. Jonathan Hoefler and Tobias Frere-Jones are responsible for some of the digital era’s most well-designed and beautifully crafted typefaces. The type designers bring to their collaborative work a formidable knowledge of typographic history paired with an impeccable eye for combining, adapting and evolving traditional letterforms into entirely original type systems. As a duo, Hoefler and Frere-Jones have a singular ability to decode contemporary visual culture, translate it and express it in typefaces of considerable technical quality and emotional impact. Hoefler is largely self-taught; by the age of 19 he’d already worked with magazine art director Roger Black for about a year, before opening the Hoefler Type Foundry in 1989. He quickly received acclaim for his work, including Knockout and Hoefler Text, which is part of the operating system for Mac computers as well as the iPad. I.D. magazine named him one of the 40 most influential designers in America for his original typefaces designed for magazines such as Harper’s Bazaar and Rolling Stone, and for institutional clients such as the Guggenheim Museum. Intense research plays a part in their process, with every aspect of every letter in a font thoughtfully considered. Nothing is randomized; nothing is left to chance. In the mid-1990s, Hoefler became an early adopter of Python, a new programming language that was making inroads in type design. Much of this period was spent developing tools to automate repetitive tasks such as kerning, the practice of managing the space between awkward pairs of letters. Rather than step through the alphabet from Aa to Zz, one of Hoefler’s tools allowed designers to move through entire regions of the alphabet at once, reviewing at a glance all diagonal or round shapes. An equal footing in technology and language ensured that every combination was considered visually, even rare ones such as Yq (as in Château d’Yquem).

Oct. 11 Font Studies Typographic Solutions

Font Studies

Vulnerable Mortality Photography by Craig McDean

Vulnerable Mortality Vulnerable Mortality Photography by Craig McDean

Photography by Craig McDean

Vulnerable Mortality Vulnerable Mortality Photography by Craig McDean

Immortal

Photography by Craig McDean

Immortal

Photography by Craig McDean

Immortal

Photography by Craig McDean

Immortal

Photography by Craig McDean

Immortal

Photography by Craig McDean

Immortal

Photography by Craig McDean

Untouchable Untouchable Untouchable Photography by Craig McDean

Photography by Craig McDean

Untouchable Untouchable Untouchable

Photography by Craig McDean

Timelessness Timelessness Timelessness Photography by Craig McDean

Photography by Craig McDean

Timelessness Timelessness Timelessness Photography by Craig McDean

Photography by Craig McDean

Un touch able

Photography by Craig McDean

Vulnerable Mortality Photography by Craig Mcdean

Vulnerable Mortality

Photography by Craig Mcdean

Immortal Photography by Craig Mcdean

Time•less•ness Photography by Craig McDean

Photography by Craig McDean

Photography by Craig Mcdean

Vulnerable Mortality

UNTOUCHABLE

Photography by Craig McDean

timelessness Photography by Craig McDean

Untouchable

Photography by Craig McDean

UNTOUCHABLE Photography by Craig McDean

Photography by Craig McDean

Untouchable Photography by Craig McDean

Vulnerable

Mortality

Photography by Craig McDean

untouchable Photography by Craig McDean

Oct. 18 25 Intro Spreads

Photography by Craig McDean

magazine

Photography by Craig McDean

magazine

Photography by Craig McDean

discovered photography while shooting portraits of friends from his hometown. Inspired, the young creative attended Blackpool & Fylde College of Further & Higher Education to pursue a course in photography before moving to London in 1989. Securing a position as an assistant for Nick Knight , then picture editor of i-D, McDean began building his credentials through shoots he covered for McKnight and in 1991 began to freelance for publications such as The Face.

magazine

Photography by Craig McDean

Craig McDean is one of the most prominent fashion photographers within the industry. He has an impressive portfolio comprised of advertising campaigns for luxury brands such as Alexander McQueen, ChloĂŠ, and, Alexander Wang and J Brand. Commissed by American Vogue since 2002, McDean has also contributed to several international editions of the fashion publication alongside magazines such as Interview, Love, W and AnOther. The celebrated photographer is also known for his series of black and white portraits of influential industry insiders and celebrity personalities. In recognition of his work, McDean was awarded and ICP Infinity Award for fashion advertising in 2008. Initially training as a mechanic, McDean discovered photography while shooting portraits of friends from his hometown. Inspired, the young creative attended Blackpool & Fylde College of Further & Higher Education to pursue a course in photography before moving to London in 1989. Securing a position as an assistant for Nick Knight , then picture editor of i-D, McDean began building his credentials through shoots he covered for McKnight and in 1991 began to freelance for publications such as The Face.

magazine

Photography by Craig McDean

magazine

Photography by Craig McDean Craig McDean is one of the most prominent fashion photographers within the industry. He has an impressive portfolio comprised of advertising campaigns for luxury brands such as Alexander McQueen, ChloĂŠ, and, Alexander Wang and J Brand. Commissed by American Vogue since 2002, McDean has also contributed to several international editions of the fashion publication alongside magazines such as Interview, Love, W and AnOther. The celebrated photographer is also known for his series of black and white portraits of influential industry insiders and celebrity personalities. In recognition of his work, McDean was awarded and ICP Infinity Award for fashion advertising in 2008. Initially training as a mechanic, McDean discovered photography while shooting portraits of friends from his hometown. Inspired, the young creative attended Blackpool & Fylde College of Further & Higher Education to pursue a course in photography before moving to London in 1989. Securing a position as an assistant for Nick Knight , then picture editor of i-D, McDean began building his credentials through shoots he covered for McKnight and in 1991 began to freelance for publications such as The Face. Following a brief tenure in Japan in 1993, McDean relocated to New York in 1995 where he began working on his first high profile campaign shoots with designer Jil Sander . In 1997, the British native was selected by Calvin Klein to produce the images for all nine of its upcoming campaigns, catapulting McDeanâ&#x20AC;&#x2122;s presence within the fashion industry and by 2007 the established photographer was said to be earning upwards of $100,000 per day.

magazine

Photography by Craig McDean

training as a mechanic, McDean discovered photography while shooting portraits of friends from his hometown. Inspired, the young creative attended Blackpool & Fylde College of Further & Higher Education to pursue a course

magazine

in photography before moving to London in 1989. Securing a position as an assistant for Nick Knight , then picture editor of i-D, McDean began building his credentials through shoots he covered for McKnight and in 1991 began to freelance for publications such as The Face. Following a brief tenure in Japan in 1993, McDean relocated to New York in 1995 where he began working on his first high profile campaign shoots with designer Jil Sander . In 1997, the British native was selected by Calvin Klein to produce the images for all nine of its upcoming campaigns, catapulting McDeanâ&#x20AC;&#x2122;s presence within the fashion industry and by 2007 the established photographer was said to be earning upwards of $100,000 per day.

Photography by Craig McDean

magazine

Photography by Craig McDean

Craig McDean is one of the most prominent

fashion photographers within the industry. He has an impressive portfolio comprised of advertising campaigns for luxury brands such as Alexander McQueen, ChloĂŠ, and, Alexander Wang and J Brand. Commissed by American Vogue since 2002, McDean has also contributed to several international editions of the fashion publication alongside magazines such as Interview, Love, W and AnOther. The celebrated photographer is also known for his series of black and white portraits of influential industry insiders and celebrity personalities. In recognition of his work, McDean was awarded and ICP Infinity Award for fashion advertising in 2008. Initially training as a mechanic,

magazine

McDean discovered photography while shooting portraits of friends from his hometown. Inspired, the young creative attended Blackpool & Fylde College of Further & Higher Education to pursue a course in photography before moving to London in 1989. Securing a position as an assistant for Nick Knight , then picture editor of i-D, McDean began building his credentials through shoots he covered for McKnight and in 1991 began to freelance for publications such as The Face.Following a brief tenure in Japan in 1993, McDean relocated to New York in 1995 where he began working on his first high profile campaign shoots with designer Jil Sander . In 1997, the British native was selected by Calvin Klein to produce the images for all nine of its upcoming campaigns, catapulting McDeanâ&#x20AC;&#x2122;s

Photography by Craig McDean

magazine

Photography by Craig McDean

magazine

to pursue a course in photography before moving to London in 1989. Securing a position as an assistant for Nick Knight , then picture editor of i-D, McDean began building his credentials through shoots he covered for McKnight and in 1991 began to freelance for publications such as The Face.Following a brief tenure in Japan in 1993, McDean relocated to New York in 1995 where he began working on his first high profile campaign shoots with designer Jil Sander . In 1997, the British native was selected by Calvin Klein to produce the images for all nine of its upcoming campaigns, catapulting McDeanâ&#x20AC;&#x2122;s presence within the fashion industry and by 2007 the established photographer was said to be earning upwards of $100,000 per day.

selected by Calvin Klein to produce the images for all nine of its upcoming campaigns, catapulting McDean’s presence within the fashion industry and by 2007 the established photographer was said to be earning upwards of $100,000 per day. McDean has also published three books throughout his career, beginning with ‘I Love Fast Cars’ in 1999 and ‘Lifescapes’ in 2004. His 2011 release of ‘Sumo’ depicting images of sumo wrestlers taken during his year in Japan was also featured in an exhibition at the Half Gallery in New York. He lives in New York with wife, Vogue contributing editor Tabitha Simmons, and their two boys. Craig McDean is one of our most prolific and innovative photographers, renowned for his influential fashion images and portraiture. His career began in London, where he was a part of a new generation of photographers working for the cultural touchstones i-D and the Face. McDean currently lives in New York, and has photographed major campaigns for such international fashion and beauty brands as Christian Dior, Gucci, Yves Saint Laurent, Giorgio Armani, Estee Lauder, and Calvin Klein. He regularly contributes to a range of publications including W, American, French, British and Italian Vogue, Another Magazine, and Interview. In 1999, McDean made his book publishing debut with I Love Fast Cars, his homage to the world of American drag racing and the community who love it. In 2004, his second book, Lifescapes, an early masterwork of digital photography, was published by Steidl/Dangin.

Photography by Craig McDean

magazine

Photography by Craig McDean

magazine

Photography by Craig McDean

As one of the most prominent fashion photographers within the industry, Craig McDean boasts an impressive portfolio comprised of advertising campaigns for luxury brands such as Alexander McQueen, Chloé, Elie Saab , Alexander Wang and J Brand. Commissed by American Vogue since 2002, McDean has also contributed to several international editions of the fashion publication alongside magazines such as Interview, Love, W and AnOther. The celebrated photographer is also known for his series of black and white portraits of influential industry insiders and celebrity personalities. In recognition of his work, McDean was awarded and ICP Infinity Award for fashion advertising in 2008.Initially training as a mechanic, McDean discovered photography while shooting portraits of friends from his hometown. Inspired, the young creative attended Blackpool & Fylde College of Further & Higher Education to pursue a course in photography before moving to London in 1989. Securing a position as an assistant for Nick Knight , then picture editor of i-D, McDean began building his credentials through shoots he covered for McKnight and in 1991 began to freelance for publications such as The Face.Following a brief tenure in Japan in 1993, McDean relocated to New York in 1995 where he began working on his first high profile campaign shoots with designer Jil Sander . In 1997, the British native was selected by Calvin Klein to produce the images for all nine of its upcoming campaigns, catapulting McDean’s presence within the fashion industry and by 2007 the established photographer was said to be earning upwards of $100,000 per day. McDean has also published three books throughout his career, beginning with ‘I Love Fast Cars’ in 1999 and ‘Lifescapes’ in 2004. His 2011 release of ‘Sumo’ depicting images of sumo wrestlers taken during his year in Japan was also featured in an exhibition at the Half Gallery in New York. He lives in New York with wife, Vogue contributing editor Tabitha Simmons, and their two boys. Craig McDean is one of our most prolific and innovative photographers, renowned for his influential fashion images and portraiture. His career began in London, where he was a part of a new generation of photographers working for the cultural touchstones i-D and the Face. McDean currently lives in New York, and has photographed major campaigns for such international fashion and beauty brands as Christian Dior, Gucci, Yves Saint Laurent, Giorgio Armani, Estee Lauder, and Calvin Klein. He regularly contributes to a range of publications including W, American, French, British and Italian Vogue, Another Magazine, and Interview. In 1999, McDean made his book publishing debut with I Love Fast Cars, his homage to the world of American drag racing and the community who love it. In 2004, his second book, Lifescapes, an early masterwork of digital photography, was published by Steidl/Dangin.

Photography by Craig McDean

magazine

Photography by Craig McDean

photography while shooting portraits of friends from his hometown. Inspired, the young creative attended Blackpool & Fylde College of Further & Higher Education to pursue a course in photography before moving to London in 1989. Securing a position as an assistant for Nick Knight , then picture editor of i-D, McDean began building his credentials through shoots he covered for McKnight and in 1991 began to freelance for publications such as The Face.Following a brief tenure in Japan in 1993, McDean relocated to New York in 1995 where he began working on his first high profile campaign shoots with designer Jil Sander . In 1997, the British native was selected by Calvin Klein to produce the images for all nine of its upcoming campaigns, catapulting McDeanâ&#x20AC;&#x2122;s presence within the fashion industry and by 2007 the established photographer was said to be earning upwards of $100,000 per day.

magazine

Photography by Craig McDean

magazine

Photography by Craig McDean magazine

Photography by Craig McDean

Photography by Craig McDean As one of the most prominent fashion photographers within the industry, Craig McDean boasts an impressive portfolio comprised of advertising campaigns for luxury brands such as Alexander McQueen, Chloé, Elie Saab , Alexander Wang and J Brand. Commissed by American Vogue since 2002, McDean has also contributed to several international editions of the fashion publication alongside magazines such as Interview, Love, W and AnOther. The celebrated photographer is also known for his series of black and white portraits of influential industry insiders and celebrity personalities. In recognition of his work, McDean was awarded and ICP Infinity Award for fashion advertising in 2008.Initially training as a mechanic, McDean discovered photography while shooting portraits of friends from his hometown. Inspired, the young creative attended Blackpool & Fylde College of Further & Higher Education to pursue a course in photography before moving to London in 1989. Securing a position as an assistant for Nick Knight , then picture editor of i-D, McDean began building his credentials through shoots he covered for McKnight and in 1991 began to freelance for publications such as The Face.Following a brief tenure in Japan in 1993, McDean relocated to New York in 1995 where he began working on his first high profile campaign shoots with designer Jil Sander . In 1997, the

British native was selected by Calvin Klein to produce the images for all nine of its upcoming campaigns, catapulting McDean’s presence within the fashion industry and by 2007 the established photographer was said to be earning upwards of $100,000 per day. McDean has also published three books throughout his career, beginning with ‘I Love Fast Cars’ in 1999 and ‘Lifescapes’ in 2004. His 2011 release of ‘Sumo’ depicting images of sumo wrestlers taken during his year in Japan was also featured in an exhibition at the Half Gallery in New York. He lives in New York with wife, Vogue contributing editor Tabitha Simmons, and their two boys. Craig McDean is one of our most prolific and innovative photographers, renowned for his influential fashion images and portraiture. His career began in London, where he was a part of a new generation of photographers working for the cultural touchstones i-D and the Face. McDean currently lives in New York, and has photographed major campaigns for such international fashion and beauty brands as Christian Dior, Gucci, Yves Saint Laurent, Giorgio Armani, Estee Lauder, and Calvin Klein. He regularly contributes to a range of publications including W, American, French, British and Italian Vogue, Another Magazine, and Interview. In 1999, McDean made his book publishing debut with I Love Fast Cars, his homage to the world of American drag racing and the community who love it. In 2004, his second book, Lifescapes, an early masterwork of digital photography, was published by Steidl/Dangin.

magazine

Photography by Craig McDean

magazine

Oct. 23 Font Explorations

Didot, Gil Sans, and Univers Caption: re et que etustest, qui remquatur abo. Dam facerem que ilitati andenim quae etur repe sundipis voluptiis sint velendi iliatiis ipicipsae. Feriati dolupta volupt

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INTRO TEXT 14/18PT:

CALL OUTS 24/36 pt

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gendi tatiusci voluptatus, quibus doluptatum quodi odiat odioriti aut endionet mod quia ipsandis mo con re parchil in prat excerunte simus sam que molorio vel enis aut ulliquaturit ventusdae. Fugia nulparum iur si comnihit prae exceaqui corem. Videro conseru mquiantium ad ut acessime accus duntibus magnati anducius vent architi rem sequi vel ea vendem explabo.

BODY TEXT 8.5/12pt: Agnationsed exer-

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Optis nobitat emquas estruptae nis doluptat quatum, qui corerum volorro eici ditiore, ute nullis commo dolorum facerspe sam, explam quidebis as dipis pariore cone officii strundi dello cuptat. Orehent quia voluptur? Ferro et es et odit adios et vernam inciur ratur aut porro odis ex etum esti sapel et quate peribero cus quat ium fugitate estiasp eribus et magnatur? Fuga. Assit quaspitatiis et eumet et quam harum estiistis venimol uptiam quame numquis ea iliaese dissitiur, sapidere nonsequi voluptatiae experias ex ea auta doluptae vellestrum consed quo te doloruptate si as debisciis dit modiate mporemp oribusa nobit perspedit, od miliber ovidebit, sit at aut lab inturio tem consequas ut autatintur moluptis dolupta incipsuOmnitiist aut es ut labor as earion necerum quuntib erferibus, sam restiis ma cores ut harciis aut doluptia qui dolorpor molupta cum eatur? Nobitas event reictotatis pedi odit laborro volore si archilla as aut voloremquias dolorem porume mi, cus volore doluptatam liqui ima as porrum etur atinctem remqui am raturem aut volende rsperferiate nobis quatet, vendendandi volorro cus audipsumquat liquiant omnisim olupta diat omnis acimint quisime cum corit hillo eum ut hiciam, non etur, oditat qui apis aut elit veria ped quaeper ioremol uptaten daecessinum, id milisqui dolorum estrum aut volupta spelecte pla sam, qui dollent paria adioribus reicipi cienimu sciandae doluptam faceat dis si il ipsapita quia delit et, conessi minullab id everiberit mo beati re volest, sandae lab imusam, est vel ipsapellat quassequi vita doloribus mo to et labo. Et ulluptatur am fugit magnihil et aces aliquam endis modis essin nimoluptatem dolorum suntur sam conecer sperum ne min reperspedit hario. Hic te explatem sinum nonsequi berrum ventur autem. Nam quas explis eiusti.

In re et que etustest, qui remquatur abo. Dam facerem que ilitati andenim quae etur repe sundipis voluptiis sint velendi iliatiis ipicipsae. Feriati dolupta voluptatur? Agnationsed exerem velestisquam facilla pedit eosti sintiam utem quisti custore raecto blandus andisi quis et lique es sed maximil ellatur epudit voluptas aut plitati busdae paruntis ut volo te net alignih itassit ationsecti cum quis ex entusciam vendebis dolupti cum raeratur? Qui coresequo iliam sequatum ne ratentis antur, odit vendese ditiundaes non res nam dis coreper ationest, elicillut que pa sed magnatur maio doluptas nosamenduci Sus doloreptur?

Garamond Pro, Din, and MillerBanner Caption: re et que etustest, qui remquatur abo. Dam facerem que ilitati andenim quae etur repe sundipis voluptiis sint velendi iliatiis ipicipsae. Feriati dolupta volupt

Article Title THIS IS A SUBHEAD

INTRO TEXT 14/18PT: Ehenihic

CALL OUTS 24/36 pt

In re et que etustest, qui remquatur abo. Dam facerem que ilitati andenim quae etur repe sundipis voluptiis sint velendi iliatiis ipicipsae.

totae et, il ipis doloratiberi sed eaquati nverfer uptatem sunt ommodio conet que a aut omnisti busapero inte volum re non exerro veliqui quaecto ex eumquae errorum fuga. Nam ea conectatem. Ignis secta eaquata tectur? Ihit et qui digendi tatiusci voluptatus, quibus doluptatum quodi odiat odioriti aut endionet mod quia ipsandis mo con re parchil in prat excerunte simus sam que molorio vel enis aut ulliquaturit ventusdae. Fugia nulparum iur si comnihit prae exceaqui corem. Videro conseru mquiantium ad ut acessime accus duntibus magnati anducius vent architi rem sequi vel ea vendem explabo. Optis nobitat emquas estruptae nis doluptat quatum,

Orehent quia voluptur? Ferro et es et odit adios et vernam inciur ratur aut porro odis ex etum esti sapel et quate peribero cus quat ium fugitate estiasp eribus et magnatur? Fuga. Assit quaspitatiis et eumet et quam harum estiistis venimol uptiam quame numquis ea iliaese dissitiur, sapidere nonsequi voluptatiae experias ex ea auta doluptae vellestrum consed quo te doloruptate si as debisciis dit modiate mporemp oribusa nobit perspedit, od miliber ovidebit, sit at aut lab inturio tem consequas ut autatintur moluptis dolupta incipsuOptatis nost, sim lam nobit, odi reprate pelitiorrum quat. Ur alibusam qui illuptas apisse liquibus autemquias vollabo repudipsam, te quid moditatia sequund itatquidus que porem et qui doluptatatem sit quia digent atus am faceatem am, od eossundamus unt rem non et porem es des quamenderem quibusdam ent offic te volut etur, tetures rem ratemo enduciis eossim volupta tiunt.

qui corerum volorro eici ditiore, ute nullis commo dolorum facerspe sam, explam quidebis as dipis pariore cone officii strundi dello cuptat. Orehent quia voluptur? Ferro et es et odit adios et vernam inciur ratur aut porro odis ex etum esti sapel et quate peribero cus quat ium fugitate estiasp eribus et magnatur? Fuga. Assit quaspitatiis et eumet et quam harum estiistis venimol uptiam quame numquis ea iliaese dissitiur, sapidere nonsequi voluptatiae experias ex ea auta doluptae vellestrum consed quo te doloruptate si as debisciis dit modiate mporemp oribusa nobit perspedit, od miliber ovidebit, sit at aut lab inturio tem consequas ut autatintur moluptis dolupta incipsuOmnitiist aut es ut labor as earion necerum quuntib erferibus, sam restiis ma cores ut harciis aut doluptia qui dolorpor molupta cum eatur? Nobitas event reictotatis pedi odit laborro volore si archilla as aut voloremquias dolorem porume mi, cus volore doluptatam liqui ima as porrum etur atinctem remqui am raturem aut volende rsperferiate nobis quatet, vendendandi volorro cus audipsumquat liquiant omnisim olupta diat omnis acimint quisime cum corit hillo eum ut hiciam, non etur, oditat qui apis aut elit veria ped quaeper ioremol uptaten daecessinum, id milisqui dolorum estrum aut volupta spelecte pla sam, qui dollent paria adioribus reicipi cienimu sciandae doluptam faceat dis si il ipsapita quia delit et, conessi minullab id everiberit mo beati re volest, sandae lab imusam, est vel ipsapellat quassequi vita doloribus mo to et labo. Et ulluptatur am fugit magnihil et aces aliquam endis modis essin nimoluptatem dolorum suntur sam conecer sperum ne min reperspedit hario. Hic te explatem sinum nonsequi berrum ventur autem. Nam quas explis eiusti. In re et que etustest, qui remquatur abo. Dam facerem que ilitati andenim quae etur repe sundipis voluptiis sint velendi iliatiis ipicipsae. Feriati dolupta voluptatur? Agnationsed exerem velestisquam facilla pedit eosti sintiam utem quisti custore raecto blandus andisi quis et lique es sed maximil ellatur epudit voluptas aut plitati busdae paruntis ut volo te net alignih itassit ationsecti cum quis ex entusciam vendebis dolupti cum raeratur? Qui coresequo iliam sequatum ne ratentis antur, odit vendese ditiundaes non res nam dis coreper ationest, elicillut que pa sed magnatur maio doluptas nosamenduci Sus doloreptur?

Century, Futura, and Melior

Caption: re et que etustest, qui remquatur abo. Dam facerem que ilitati andenim quae etur repe sundipis voluptiis sint velendi iliatiis ipicipsae. Feriati dolupta volupt

Article Title THIS IS A SUBHEAD

Ehenihic totae et, il ipis doloratiberi sed eaquati nverfer uptatem sunt ommodio conet que a aut omnisti busapero inte volum re non exerro veliqui quaecto ex eumquae errorum fuga. Nam ea conectatem. Ignis secta eaquata tectur? Ihit et qui digendi tatiusci voluptatus, quibus doluptatum quodi odiat odioriti aut endionet mod quia ipsandis mo con re parchil in prat excerunte simus sam que molorio vel enis aut ulliquaturit ventusdae. Fugia nulparum iur si comnihit prae exceaqui corem. Videro conseru mquiantium ad ut acessime accus duntibus INTRO TEXT 14/18PT:

magnati

anducius vent architi rem sequi vel ea vendem explabo. CALL OUTS 24/36 pt BODY TEXT 8.5/12pt: Agnationsed exerem velestis-

In re et que etustest, qui remquatur abo. Dam facerem que ilitati andenim quae etur repe sundipis voluptiis sint velendi ili-

atiis ipicipsae.

quam facilla pedit eosti sintiam utem quisti custore raecto blandus andisi quis et lique es sed maximil ellatur epudit voluptas aut plitati busdae paruntis ut volo te net alignih itassit ationsecti cum quis ex entusciam vendebis dolupti cum raeratur? Qui coresequo iliam sequatum ne ratentis antur, odit vendese ditiundaes non res nam dis coreper ationest, elicillut que pa sed magnatur maio doluptas nosamenduci dolenim aiorepeliqui occupta spedipidic te vendi dem dolorepercia evenit que voluptate vellupt atibere prepel ma consedi ilit deriore perspitia quatibus mi, consequatem ipsunt ut dolorro rerionsequi sequi dus arcipsandus doluptatqui non es sum conecae qui voluptatus et lab ius dolupta tibusae magnatus mos si berunt laciis aut vel is expelent ad excest, te pre, officaborum quas velessum fuga. Sus doloreptur? Sit, optis nobitat emquas estruptae nis doluptat quatum, qui corerum volorro eici ditiore, ute nullis commo dolorum facerspe sam, explam quidebis as dipis pariore cone officii strundi dello cuptat. Orehent quia voluptur? Ferro et es et odit adios et vernam inciur ratur aut porro odis ex etum esti sapel et quate peribero cus quat ium fugitate estiasp eribus et magnatur? Fuga. Assit quaspitatiis et eumet et quam harum estiistis venimol uptiam quame numquis ea iliaese dissitiur, sapidere nonsequi voluptatiae experias ex ea auta doluptae vellestrum consed quo te doloruptate si as debisciis dit modiate mporemp oribusa nobit perspedit, od miliber ovidebit, sit at aut lab inturio tem consequas ut autatintur moluptis dolupta incipsuOptatis nost, sim lam nobit, odi reprate pelitiorrum quat. Ur alibusam qui illuptas apisse liquibus autemquias vollabo repudipsam, te quid moditatia sequund itatquidus que porem et qui doluptatatem sit quia digent atus am faceatem am, od eossundamus unt rem non et porem es des quamenderem quibusdam ent offic te volut etur, tetures rem ratemo enduciis eossim volupta tiunt.

Gil Sans, Didot, and DIN

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Article Title THIS IS A SUBHEAD

INTRO TEXT 14/18PT:

Ehenihic totae et, il ipis doloratiberi sed eaquati nverfer

uptatem sunt ommodio conet que a aut omnisti busapero inte volum re non exerro veliqui quaecto ex eumquae errorum fuga. Nam ea conectatem. Ignis secta eaquata tectur? Ihit et qui digendi tatiusci voluptatus, quibus doluptatum quodi odiat odioriti aut endionet mod quia ipsandis mo con re parchil in prat excerunte simus sam que molorio vel enis aut ulliquaturit ventusdae. Fugia nulparum iur si comnihit prae exceaqui corem. Videro conseru mquiantium ad ut acessime accus duntibus magnati anducius vent architi rem sequi vel ea vendem explabo. CALL OUTS 24/36 pt BODY TEXT 8.5/12pt: Agnationsed exerem velestisquam

In re et que etustest, qui remquatur abo. Dam facerem que ilitati andenim quae etur repe sundipis voluptiis sint velendi iliatiis ipicipsae.

facilla pedit eosti sintiam utem quisti custore raecto blandus andisi quis et lique es sed maximil ellatur epudit voluptas aut plitati busdae paruntis ut volo te net alignih itassit ationsecti cum quis ex entusciam vendebis dolupti cum raeratur? Qui coresequo iliam sequatum ne ratentis antur, odit vendese ditiundaes non res nam dis coreper ationest, elicillut que pa sed magnatur maio doluptas nosamenduci dolenim aiorepeliqui occupta spedipidic te vendi dem dolorepercia evenit que voluptate vellupt atibere prepel ma consedi ilit deriore perspitia quatibus mi, consequatem ipsunt ut dolorro rerionsequi sequi dus arcipsandus doluptatqui non es sum conecae qui voluptatus et lab ius dolupta tibusae magnatus mos si berunt laciis aut vel is expelent ad excest, te pre, officaborum quas velessum fuga. Sus doloreptur? Sit, optis nobitat emquas estruptae nis doluptat quatum, qui corerum volorro eici ditiore, ute nullis commo dolorum facerspe sam, explam quidebis as dipis pariore cone officii strundi dello cuptat. Orehent quia voluptur? Ferro et es et odit adios et vernam inciur ratur aut porro odis ex etum esti sapel et quate peribero cus quat ium fugitate estiasp eribus et magnatur? Fuga. Assit quaspitatiis et eumet et quam harum estiistis venimol uptiam quame numquis ea iliaese dissitiur, sapidere nonsequi voluptatiae experias ex ea auta doluptae vellestrum consed quo te doloruptate si as debisciis dit modiate mporemp oribusa nobit perspedit, od miliber ovidebit, sit at aut lab inturio tem consequas ut autatintur moluptis dolupta incipsuOptatis nost, sim lam nobit, odi reprate pelitiorrum quat. Ur alibusam qui illuptas apisse liquibus autemquias vollabo repudipsam, te quid moditatia sequund itatquidus que porem et qui doluptatatem sit quia digent atus am faceatem am, od eossundamus unt rem non et porem es des quamenderem quibusdam ent offic te volut etur, tetures rem ratemo enduciis eossim volupta tiunt.

Futura, Clearface, and Goudy

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ARTICLE TITLE THIS IS A SUBHEAD

INTRO TEXT 14/18PT: Ehenihic

totae et, il ipis doloratiberi sed eaquati nverfer uptatem

sunt ommodio conet que a aut omnisti busapero inte volum re non exerro veliqui quaecto ex eumquae errorum fuga. Nam ea conectatem. Ignis secta eaquata tectur? Ihit et qui digendi tatiusci voluptatus, quibus doluptatum quodi odiat odioriti aut endionet mod quia ipsandis mo con re parchil in prat excerunte simus sam que molorio vel enis aut ulliquaturit ventusdae. Fugia nulparum iur si comnihit prae exceaqui corem. Videro conseru mquiantium ad ut acessime accus duntibus magnati anducius vent architi rem sequi vel ea vendem explabo. CALL OUTS 24/36 pt

In re et que etustest, qui remquatur abo. Dam facerem que ilitati andenim quae etur repe sundipis voluptiis sint velendi iliatiis ipicipsae.

BODY TEXT 8.5/12pt: Agnationsed exerem velestisquam facilla pedit eosti sintiam utem quisti custore raecto blandus andisi quis et lique es sed maximil ellatur epudit voluptas aut plitati busdae paruntis ut volo te net alignih itassit ationsecti cum quis ex entusciam vendebis dolupti cum raeratur? Qui coresequo iliam sequatum ne ratentis antur, odit vendese ditiundaes non res nam dis coreper ationest, elicillut que pa sed magnatur maio doluptas nosamenduci dolenim aiorepeliqui occupta spedipidic te vendi dem dolorepercia evenit que voluptate vellupt atibere prepel ma consedi ilit deriore perspitia quatibus mi, consequatem ipsunt ut dolorro rerionsequi sequi dus arcipsandus doluptatqui non es sum conecae qui voluptatus et lab ius dolupta tibusae magnatus mos si berunt laciis aut vel is expelent ad excest, te pre, officaborum quas velessum fuga. Sus doloreptur? Sit, optis nobitat emquas estruptae nis doluptat quatum, qui corerum volorro eici ditiore, ute nullis commo dolorum facerspe sam, explam quidebis as dipis pariore cone officii strundi dello cuptat. Orehent quia voluptur? Ferro et es et odit adios et vernam inciur ratur aut porro odis ex etum esti sapel et quate peribero cus quat ium fugitate estiasp eribus et magnatur? Fuga. Assit quaspitatiis et eumet et quam harum estiistis venimol uptiam quame numquis ea iliaese dissitiur, sapidere nonsequi voluptatiae experias ex ea auta doluptae vellestrum consed quo te doloruptate si as debisciis dit modiate mporemp oribusa nobit perspedit, od miliber ovidebit, sit at aut lab inturio tem consequas ut autatintur moluptis dolupta incipsuOptatis nost, sim lam nobit, odi reprate pelitiorrum quat. Ur alibusam qui illuptas apisse liquibus autemquias vollabo repudipsam, te quid moditatia sequund itatquidus que porem et qui doluptatatem sit quia digent atus am faceatem am, od eossundamus unt rem non et porem es des quamenderem quibusdam ent offic te volut etur, tetures rem ratemo enduciis eossim volupta tiunt.

Franklin Gothic, Bembo, and Granjon

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Article Title THIS IS A SUBHEAD

INTRO TEXT 14/18PT: Ehenihic

CALL OUTS 24/36 pt

In re et que etustest, qui remquatur abo. Dam facerem que ilitati andenim quae etur repe sundipis voluptiis sint velendi iliatiis ipicipsae.

Oct. 25 Feature Spread Final Revision Cover Designs and Research

P H OTO G R A P H Y B Y Born in 1964, McDean started his career by taking pictures of his rocker friends in North of England and working as a mechanic, before assisting iconic eccentric photographer Nick Knight in London. Later on, he started shooting stories for i-D and The Face.

Craig McDean / Jason Rider / New York Times

CRAIG MCDEAN

“ H I S E A R LY E D I TO R I A L WO R K WA S F E AT U R E D I N M AG A Z I N E S S U C H A S i - D A N D T H E FAC E , W H I C H L E D TO A DV E RT I S I N G C A M PA I G N WO R K F O R C L I E N T S SUCH AS JIL SANDER AND C A LV I N K L E I N . ” McDean originally trained and worked as a car mechanic before studying photography at Mid Cheshire College (OND) and Blackpool and The Fylde College of Further & Higher Education (PQE) where he took photography classes before he dropped out and moved to London. McDean began his photographic career in London as a photographer’s assistant to photographer Nick Knight.[1] His early editorial work was featured in magazines such as i-D and The Face, which led to advertising campaign work for clients such as Jil Sander and Calvin Klein, and editorial commissions with Harper’s Bazaar and Vogue. More recently, McDean has photographed fashion campaigns for clients including Gucci, Giorgio Armani, Emporio Armani, Oscar de la Renta, Yves Saint Laurent, Calvin Klein, and Estée Lauder. His editorial spreads are regularly featured in magazines including Vogue, W, and Another Magazine. Although primarily a fashion photographer, McDean has photographed portraits of celebrities including Björk, Madonna, Natalie Portman, Justin Timberlake, Jennifer Aniston, Joaquin Phoenix, Hilary Swank, Uma Thurman, Gael García Bernal and Nicole Kidman. In 2008, McDean was given an Infinity Award for Appliewwd/ Fashion/Advertising Photography by the International Center of Photography. McDean is married to former model and stylist Tabitha Simmons, who is also a contributing fashion editor with Vogue. The couple lives in Chelsea, Manhattan. He is represented by Art + Commerce in New York. Craig McDean was born in Middlewich near Manchester in 1964. He first started working as a car mechanic but quickly changed his mind and attended the Mid Cheshire Col-

lege where he studied photography instead, a medium he first used when he started taking pictures of his rocker friends in his home town. He then decided to move to London and became Nick Knight’s assistant. He first caught people’s attention when he began shooting for the magazines i-D and The Face. Soon after, he started working with many other high profile magazines, amongst which, the British, French and Italian editions of Vogue, W, Harpers’ Bazaar and Another Magazine. He published his first book “I Love Fast Cars” in 1999, and his second one “Lifescapes” six years later. McDean’s work is truly appreciated amongst celebrities and he has been working with many of them, including Madonna, Scarlett Johanson, Natalie Portman, Björk, Justin Timberlake, Joaquin Phoenix, Uma Thurman, Nicole Kidman, Jennifer Aniston, Gael Garcia Bernal and Hilary Swank. He has also been working on many different advertising campaigns for Jil Sander, Calvin Klein, Estée Lauder, Giorgio Armani, Emporio Armani, Oscar de la Renta, Yves Saint Laurent, and Gucci to only name a few. The International Center of Photography awarded him the ICP Infinity Award for Applied, Fashion and Advertising Photography in 2008. McDean is today based in New York where he is represented by Art + Commerce. He lives with his wife, the stylist Tabitha Simmons. With energy and glamour, iconic photographer Craig McDean captures the celebrated evolution of fashion’s biggest muses: Kate Moss, Guinevere van Seenus, and Amber Valletta. With their waiflike frames and unique features that contrasted with the supermodels of the ’80s, Amber, Guinevere, and Kate became the anti-supermodels that, alongside grunge, signified a global shift in culture. Craig McDean is one of our most prolific and innovative photographers, renowned for his influential fashion images and portraiture. And Craig McDean, an

Craig McDean / Jason Rider / New York Times

Craig McDean / Amilna Estevão / New York Times

“WITH ENERGY AND GLAMOR, ICONIC PHOTOGRAPHER CRAIG MCDEAN CAPTURES THE CELEBRATED EVOLUTION OF FASHION’S BIGGEST MUSES.” Craig McDean / Kendrick Lamar / New York Times

Je Suis

Craig McDean / Jason Rider / New York Times

“CRAIG MCDEAN IS ONE OF OUR MOST PROLIFIC AND INNOVATIVE PHOTOGRAPHERS.” artist with a talented eye for the striking and unusual, photographed them from their beginnings. McDean, whose works are praised for their conceptual and sophisticated edge, is well respected in both the photography and high designer fashion worlds. His editorial spreads are regularly featured in magazines including Vogue, W, and Another Magazine. Although primarily a fashion photographer, McDean has photographed portraits of celebrities including Björk, Madonna, Natalie Portman, Justin Timberlake, Jennifer Aniston, Joaquin Phoenix, Hilary Swank, Uma Thurman, Gael García Bernal and Nicole Kidman. In 2008, McDean was given an Infinity Award for Applied/ Fashion/Advertising Photography by the International Center of Photography. McDean is married to former model and stylist Tabitha Simmons, who is also a contributing fashion editor with Vogue. The couple lives in Chelsea, Manhattan. He is represented by Art + Commerce in New York. Craig McDean was born in Middlewich near Manchester in 1964. He published his first book “I Love Fast Cars” in 1999, and his second one “Lifescapes” six years later. McDean’s work is truly appreciated amongst celebrities and he has been working with many of them, including Madonna, Scarlett Johanson, Natalie Portman, Björk, Justin Timberlake, Joaquin Phoenix, Uma Thurman, Nicole Kidman, Jennifer Aniston, Gael Garcia Bernal and Hilary Swank. He has also been working on many different advertising campaigns for Jil Sander, Calvin Klein, Estée Lauder, Giorgio Armani, Emporio Armani, Oscar de la Renta, Yves Saint Laurent, and Gucci to only name a few.

Je Suis

The International Center of Photography awarded him the ICP Infinity Award for Applied, Fashion and Advertising Photography in 2008. McDean is today based in New York where he is represented by Art + Commerce. He lives with his wife, the stylist Tabitha Simmons.With energy and glamour, iconic photographer Craig McDean captures the celebrated evolution of fashion’s biggest muses: Kate Moss, Guinevere van Seenus, and Amber Valletta. With their waiflike frames and unique features that contrasted with the supermodels of the ’80s, Amber, Guinevere, and Kate became the anti-supermodels that, alongside grunge, signified a global shift in culture. Craig McDean is one of our most prolific and innovative photographers, renowned for his influential fashion images and portraiture. And Craig McDean, an artist with a talented eye for the striking and unusual, photographed them from their beginnings. McDean, whose works are praised for their conceptual and sophisticated edge, is well respected in both the photography and high designer fashion worlds. His editorial spreads are regularly featured in magazines including Vogue, W, and Another Magazine. Although primarily a fashion photographer, McDean has photographed portraits of celebrities including Björk, Madonna, Natalie Portman, Justin Timberlake, Jennifer Aniston, Joaquin Phoenix, Hilary Swank, Uma Thurman, Gael García Bernal and Nicole Kidman. In 2008, McDean was given an Infinity Award for Applied/Fashion/Advertising Photography by the International Center of Photography. McDean is married to former model and stylist Tabitha Simmons, who is also a contributing fashion editor with Vogue. The couple lives in Chelsea, Manhattan with their children. He is represented by Art + Commerce in New York. Craig McDean was born in Middlewich near Manchester in 1964.

Craig McDean / Benjamin Clementine / New York Times

Craig McDean / Liya Kebede / New York Times

Craig McDean / Mica Arganaraz / New York Times

“AN ARTIST WITH A TALENTED EYE FOR THE STRIKING AND UNUSUAL.”

Issue 4

A closer look into the world of Craig McDean

Issue 4

A closer look into the world of Craig McDean

Issue 4

je suis Issue 4

A closer look into the world of Craig McDean

JE SUIS Issue 4

JE SUIS

Issue 4

JE SUIS

Issue 4.

A closer look into the world of Craig McDean

JE SUIS Issue 4

Volume 4 Fall 2018

JE SUIS

Volume 4 Fall 2018

Volume 4 Spring 2018

The following series of magazines serve as my design inspiration because although they consist of minimalist design, they clearly illustrate their purpose and story that readers find within their pages. Covers of all magazines embrace individualistic traits and characteristics that give each their very own unique breathe of life.

Oct. 30 Historical Photographer Direction

BOUND P H OTO G R A P H Y B Y

Born and raised in New York City by a family involved in the fashion world, Avedon took an interest in fashion and photography from an early age. He attended DeWitt Clinton High School where he managed the schoolâ&#x20AC;&#x2122;s literary magazine, The Magpie, with fellow classmate and long time friend, James Baldwin. Avedon enrolled

DARIES R I C H A R D AV E D O N

Richard Avedon / Truman Capote

in Columbia University, but dropped out after one year to serve

in the Merchant Marines during World War II. As a Marine, his primary duty was to photograph sailors for identification portraits. After fulfilling his military duties, Avedon attended the New School of Social Research to study under Harper’s Bazaar’s art director, Alexey Brodovitch in1944. The photographers quickly developed a close relationship and after one year of working together, Brodovitch hired him as staff photographer for the magazine. After a few years of photographing daily life in New York, Avedon was given the assignment of covering the notorious fashion week in Paris. Throughout the next ten years, he photographed the models out and about in the city of Paris, posing in places like cafes and streetcars. Avedon worked at Harper’s Bazaar for twenty years, and left to work for another notable fashion magazine, Vogue, where he remained for almost twenty-five years. In addition to his work in the fashion world, Avedon was a master in portraiture and worked in political photography as well. He photographed countless icons such as Dr. Martin Luther King, Jr., Marilyn Monroe, the Beatles, and President Eisenhower and his wife.

Richard Avedon / Twiggy

Richard Avedon / Elizabeth Taylor

Je Suis

In addition to working in fashion and portraits, Avedon published over a dozen books including two of his most famous works, Observations and Nothing Personal, which contain collections of his photographs with commentary and essays from noteworthy colleagues. After finishing his career at Vogue in 1990, Avedon became the first staff photographer of the New Yorker where he aspired to “photograph people of accomplishment, not celebrity, and help define the difference once again”. Avedon died on October 4, 2004 while on assignment for the New Yorker. Avedon had been married and divorced twice and is survived by his son, John, and four grandchildren. Richard Avedon’s controversial and provocative pictures challenged the traditional photography of his time, and helped turn photography into an expressive art form. One of his most iconic pieces is entitled “Dovima with Elephants”, which includes the model wearing an elegant Dior gown while posing with two elephants at a circus. His portraits were highly renowned for not only his unique black and white style, but also his ability to capture raw, intimate emotion while still maintaining a sense of formality. His photographic ability was extremely versatile as he worked in the political field and medical field, in addition to his fashion and portrait work. He photographed civil rights activists and Vietnam soldiers and also created a collection of portraits of his terminally ill father that appeared in Museum of Modern Art in 1974, and later in the Marlborough Gallery. A collection of his work over the span of his career titled “Richard Avedon: Photographs

Richard Avedon / Paris

Richard Avedon / Twiggy

1947-1977”, was presented at the Metropolitan Museum of Art before traveling to different museums all over the world. He has received countless awards for his work including The Royal Photographic Society’s Special 150th Anniversary Medal and Honorary Fellowship in 2003, and was named one of the top ten greatest photographers in the world by Popular Photography magazine. In addition to his collections and honors, Avedon left behind a commendable legacy in the Richard Avedon Foundation. The foundation, created by Avedon and maintained by his surviving family, serves as a kind of archive of all of his work and “encourages the study and appreciation of Avedon’s photography through publications, touring exhibitions, and outreach to the academic community”. Avedon also inspired the 1957 film, Funny Face, in which the main character is based on his own life. Richard Avedon was passionate about photography and devoted his life to capturing the reality of his subjects. He is one of the most famous photographers of all time because of his groundbreaking photographic techniques and push towards turning photography into more than just pictures by expanding the fashion world and turning the photography genre into a unique art form.

“His portraits were highly renowned for not only his unique black and white style, but also his ability to capture raw,intimate emotion while still maintaining a sense of formality.” Je Suis

BOUND P H OTO G R A P H Y B Y R I C H A R D AV E D O N

DARIES

Richard Avedon / Marilyn Monroe

in Columbia University, but dropped out after one year to serve in the Merchant Marines during World War II. As a Marine, his primary duty was to photograph sailors for identification portraits. After fulfilling his military duties, Avedon attended the New School of Social Research to study under Harper’s Bazaar’s art director, Alexey Brodovitch in1944. The photographers quickly developed a close relationship and after one year of working together, Brodovitch hired him as staff photographer for the magazine. After a few years of photographing daily life in New York, Avedon was given the assignment of covering the notorious fashion week in Paris. Throughout the next ten years, he photographed the models out and about in the city of Paris, posing in places like cafes and streetcars. Avedon worked at Harper’s Bazaar for twenty years, and left to work for another notable fashion magazine, Vogue, where he remained for almost twenty-five years. In addition to his work in the fashion world, Avedon was a master in portraiture and worked in political photography as well. He photographed countless icons such as Dr. Martin Luther King, Jr., Marilyn Monroe, the Beatles, and President Eisenhower and his wife.

Richard Avedon / Elizabeth Taylor

Jacqueline de Ribes / Marilyn Monroe

Je Suis

â&#x20AC;&#x153;Richard Avedon was passionate about photography and devoted his life to capturing the reality of his subjects.â&#x20AC;? 12

Richard Avedon / Jeanne Moreau

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13 13

P H OTO G R A P H Y B Y

R I C H A R D AV E D O N

BOUNDARIES

Richard Avedon / Paul McCartney

Richard Avedon / Paris

His portraits were highly renowned for not only his unique black and white style, but also his ability to capture raw, intimate emotion while still maintaining a sense of formality. His photographic ability was extremely versatile as he worked in the political field and medical field, in addition to his fashion and portrait work. He photographed civil rights activists and Vietnam soldiers and also created a collection of portraits of his terminally ill father that appeared in Museum of Modern Art in 1974, and later in the Marlborough Gallery. A collection of his work over the span of his career titled “Richard Avedon: Photographs 1947-1977”, was presented at the Metropolitan Museum of Art before traveling to different museums all over the world. He has received countless awards for his work including The Royal Photographic Society’s Special 150th Anniversary Medal and Honorary Fellowship in 2003, and was named one of the top ten greatest photographers in the world by Popular Photography magazine. In addition to his collections and honors, Avedon left behind a commendable legacy in the Richard Avedon Foundation. The foundation, created by Avedon and maintained by his surviving family, serves as a kind of archive of all of his work and “encourages the study and appreciation of Avedon’s photography through publications, touring exhibitions, and outreach to the academic community”. Avedon also inspired the 1957 film, Funny Face, in which the main character is based on his own life. Richard Avedon was passionate about photography and devoted his life to capturing the reality of his subjects. He is one of the most famous photographers of all time because of his groundbreaking photographic techniques and push towards turning photography into more than just pictures by expanding the fashion world and turning the photography genre into a unique art form.

Richard Avedon / Kate Moss

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Richard Avedon / Midwest

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Nov. 1 3 Cover Revisions Historical Photographer Revisions

Volume 4 Fall 2018

JE SUIS

Volume 4 Spring 2018

JE SUIS

Volume 4 Fall 2018

P H OTO G R A P H Y B Y

R I C H A R D AV E D O N

BOUNDARIES

Richard Avedon / Paul McCartney

S 9

Richard Avedon / Paris

“Richard Avedon was passionate about photography and devoted his life to capturing the reality of his subjects”

Richard Avedon / Kate Moss

Je Je Suis Suis

Richard Avedon / Paris

Richard Avedon / Midwest

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Richard Avedon / Paul McCartney

P H OTO G R A P H Y B Y R I C H A R D AV E D O N

BOUNDARIES

Richard Avedon / Paris

Richard Avedon / Kate Moss

“Richard was pas photogr his life t reality o

d Avedon ssionate about raphy and devoted to capturing the of his subjects”

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graph people of accomplishment, not celebrity, and help define the difference once again”. Avedon died on October 4, 2004 while on assignment for the New Yorker. Avedon had been married and divorced twice and is survived by his son, John, and four grandchildren. Richard Avedon’s controversial and provocative pictures challenged the traditional photography of his time, and helped turn photography into an expressive art form. One of his most iconic pieces is entitled “Dovima with Elephants”, which includes the model wearing an elegant Dior gown while posing with two elephants at a circus. His portraits were highly renowned for not only his unique black and white style, but also his ability to capture raw, intimate emotion while still maintaining a sense of formality. His photographic ability was extremely versatile as he worked in the political field and medical field, in addition to his fashion and portrait work. He photographed civil rights activists and Vietnam soldiers and also created a collection of portraits of his terminally ill father that appeared in Museum of Modern Art in 1974, and later in the Marlborough Gallery. A collection of his work over the span of his career titled “Richard Avedon: Photographs 1947-1977”, was presented at the Metropolitan Museum of Art before traveling to different museums all over the world. He has received countless awards for his work including The Royal Photographic Society’s Special 150th Anniversary Medal and Honorary Fellowship in 2003, and was named one of the top ten greatest photographers in the world by Popular Photography magazine. In addition to his collections and honors, Avedon left behind a commendable legacy in the Richard Avedon Foundation. The foundation, created by Avedon and maintained by his surviving family, serves as a kind of archive of all of his work and “encourages the study and appreciation of Avedon’s photography through publications, touring exhibitions, and outreach to the academic community”. Avedon also inspired the 1957 film, Funny Face, in which the main character is based on his own life. Richard Avedon was passionate about photography and devoted his life to capturing the reality of his subjects. He is one of the most famous photographers of all time because of his groundbreaking photographic techniques and push towards turning photography into more than just pictures by expanding the fashion world and turning the photography genre into a unique art form.

Richard Avedon / Paris

Richard Avedon / Midwest

Je Suis

Nov. 6 On Photography Explorations Final Magazine Layout

On Phot By Susan Sontag Humankind lingers unregenerately in Plato’s cave, still reveling, its age-old habit, in mere images of the truth. But being educated by photographs is not like being educated by older, more artisanal images. For one thing, there are a great many more images around, claiming our attention. The inventory started in 1839 and since then just about everything has been photographed, or so it seems. This very insatiability of the photographing eye changes the terms of confinement in the cave, our world. In teaching us a new visual code, photographs alter and enlarge our notions of what is worth looking at and what we have a right to observe. They are a grammar and, even more importantly, an ethics of seeing. Finally, the most grandiose result of the photographic enterprise is to give us the sense that we can hold the whole world in our heads — as an anthology of images. To collect photographs is to collect the world. Movies and television programs light up walls, flicker, and go out; but with still photographs the image is also an object, lightweight, cheap to produce, easy to carry about, accumulate, store. In Godard’s Les Carabiniers (1963), two sluggish lumpen-peasants are lured into joining the King’s Army by the promise that they will be able to loot, rape, kill, or do whatever else they please to the enemy, and get rich. But the suitcase of booty that Michel-Ange and Ulysse triumphantly bring home, years later, to their wives turns out to contain only picture postcards, hundreds of them, of Monuments, Department Stores, Mammals, Wonders of Nature, Methods of Transport, Works of Art, and other classified treasures from around the globe. Godard’s gag vividly parodies the equivocal magic of the photographic image., Photographs are perhaps the most mysterious of all the objects that make up, and thicken, the environment we recognize as modern. Photographs really are experience captured, and the camera is the ideal arm of consciousness in its acquisitive mood. To photograph is to appropriate the thing photographed. It means putting oneself into a certain relation to the world that feels like knowledge — and, therefore, like power. A now notorious first fall into alienation, habituating people to abstract the world into printed words, is supposed to have engendered that surplus of Faustian energy and psychic damage needed to build modern, inorganic societies. But print seems a less treacherous form of leaching out the world, of turning it into a mental object, than photographic images, which now provide most of the knowledge people have about the look of the past and the reach of the present. What is written about a person or an event is frankly an interpretation, as are handmade visual statements, like paintings and drawings. Photographed images do not seem to be statements about the world so much as pieces of it, miniatures of reality that anyone can make or acquire. Photographs, which fiddle with the scale of the world, themselves get reduced, blown up, cropped, retouched, doctored, tricked out. They age, plagued by the usual ills of paper objects; they disappear; they become valuable, and get bought and sold; they are reproduced. Photographs, which package the world, seem to invite packaging. They are stuck in albums, framed and set on tables, tacked on walls, projected as slides. Newspapers and magazines feature them; cops alphabetize them; museums exhibit them; publishers compile them. For many decades the book has been the most influential way of arranging (and usually miniaturizing) photographs, thereby guaranteeing them longevity, if not immortality — photographs are fragile objects, easily torn or mislaid — and a wider public. The photograph in a book is, obviously, the image of an image. But since it is, to begin with, a printed, smooth object, a photograph loses much less of its essential quality when reproduced in a book than a painting does. Still, the book is not a wholly satisfactory scheme for putting groups of photographs into general circulation. The sequence in which the photographs are to be looked at is proposed by the order of pages, but nothing holds readers to the recommended order or indicates the amount of time to be spent on each photograph. Chris Marker’s film, Si j’avais quatre dromadaires (1966), a brilliantly orchestrated meditation on photographs of all sorts and themes, suggests a subtler and more rigorous way of packaging (and enlarging) still photographs. Both the order and the exact time for looking at each photograph are imposed; and there is a gain in visual legibility and emotional impact. But photographs transcribed in a film cease to be collectable objects, as they still are when served up in books.

tography Photographs furnish evidence. Something we hear about, but doubt, seems proven when we’re shown a photograph of it. In one version of its utility, the camera record incriminates. Starting with their use by the Paris police in the murderous roundup of Communards in June 1871, photographs became a useful tool of modern states in the surveillance and control of their increasingly mobile populations. In another version of its utility, the camera record justifies. A photograph passes for incontrovertible proof that a given thing happened. The picture may distort; but there is always a presumption that something exists, or did exist, which is like what’s in the picture. Whatever the limitations (through amateurism) or pretensions (through artistry) of the individual photographer, a photograph — any photograph — seems to have a more innocent, and therefore more accurate, relation to visible reality than do other mimetic objects. Virtuosi of the noble image like Alfred Stieglitz and Paul Strand, composing mighty, unforgettable photographs decade after decade, still want, first of all, to show something “out there,” just like the Polaroid owner for whom photographs are a handy, fast form of note-taking, or the shutterbug with a Brownie who takes snapshots as souvenirs of daily life. While a painting or a prose description can never be other than a narrowly selective interpretation, a photograph can be treated as a narrowly selective transparency. But despite the presumption of veracity that gives all photographs authority, interest, seductiveness, the work that photographers do is no generic exception to the usually shady commerce between art and truth. Even when photographers are most concerned with mirroring reality, they are still haunted by tacit imperatives of taste and conscience. The immensely gifted members of the Farm Security Administration photographic project of the late 1930s (among them Walker Evans, Dorothea Lange, Ben Shahn, Russell Lee) would take dozens of frontal pictures of one of their sharecropper subjects until satisfied that they had gotten just the right look on film — the precise expression on the subject’s face that supported their own notions about poverty, light, dignity, texture, exploitation, and geometry. In deciding how a picture should look, in preferring one exposure to another, photographers are always imposing standards on their subjects. Although there is a sense in which the camera does indeed capture reality, not just interpret it, photographs are as much an interpretation of the world as paintings and drawings are. Those occasions when the taking of photographs is relatively undiscriminating, promiscuous, or self-effacing do not lessen the didacticism of the whole enterprise. This very passivity — and ubiquity — of the photographic record is photography’s “message,” its aggression. Images which idealize (like most fashion and animal photography) are no less aggressive than work which makes a virtue of plainness (like class pictures, still lifes of the bleaker sort, and mug shots). There is an aggression implicit in every use of the camera. This is as evident in the 1840s and 1850s, photography’s glorious first two decades, as in all the succeeding decades, during which technology made possible an ever increasing spread of that mentality which looks at the world as a set of potential photographs. Even for such early masters as David Octavius Hill and Julia Margaret Cameron who used the camera as a means of getting painterly images, the point of taking photographs was a vast departure from the aims of painters. From its start, photography implied the capture of the largest possible number of subjects. Painting never had so imperial a scope. The subsequent industrialization of camera technology only carried out a promise inherent in photography from its very beginning: to democratize all experiences by translating them into images. That age when taking photographs required a cumbersome and expensive contraption — the toy of the clever, the wealthy, and the obsessed — seems remote indeed from the era of sleek pocket cameras that invite anyone to take pictures. The first cameras, made in France and England in the early 1840s, had only inventors and buffs to operate them. Since there were then no professional photographers, there could not be amateurs either, and taking photographs had no clear social use; it was a gratuitous, that is, an artistic activity, though with few pretensions to being an art. It was only with its industrialization that photography came into its own as art. As industrialization provided social uses for the operations of the photographer, so the reaction against these uses reinforced the self-consciousness of photography-as-art.

On By Susan Sontag

Humankind lingers unregenerately in Plato’s cave, still reveling, its age-old habit, in mere images of the truth. But being educated by photographs is not like being educated by older, more artisanal images. For one thing, there are a great many more images around, claiming our attention. The inventory started in 1839 and since then just about everything has been photographed, or so it seems. This very insatiability of the photographing eye changes the terms of confinement in the cave, our world. In teaching us a new visual code, photographs alter and enlarge our notions of what is worth looking at and what we have a right to observe. They are a grammar and, even more importantly, an ethics of seeing. Finally, the most grandiose result of the photographic enterprise is to give us the sense that we can hold the whole world in our heads — as an anthology of images. To collect photographs is to collect the world. Movies and television programs light up walls, flicker, and go out; but with still photographs the image is also an object, lightweight, cheap to produce, easy to carry about, accumulate, store. In Godard’s Les Carabiniers (1963), two sluggish lumpen-peasants are lured into joining the King’s Army by the promise that they will be able to loot, rape, kill, or do whatever else they please to the enemy, and get rich. But the suitcase of booty that Michel-Ange and Ulysse triumphantly bring home, years later, to their wives turns out to contain only picture postcards, hundreds of them, of Monuments, Department Stores, Mammals, Wonders of Nature, Methods of Transport, Works of Art, and other classified treasures from around the globe. Godard’s gag vividly parodies the equivocal magic of the photographic image., Photographs are perhaps the most mysterious of all the objects that make up, and thicken, the environment we recognize as modern. Photographs really are experience captured, and the camera is the ideal arm of consciousness in its acquisitive mood. To photograph is to appropriate the thing photographed. It means putting oneself into a certain relation to the world that feels like knowledge — and, therefore, like power. A now notorious first fall into alienation, habituating people to abstract the world into printed words, is supposed to have engendered that surplus of Faustian energy and psychic damage needed to build modern, inorganic societies. But print seems a less treacherous form of leaching out the world, of turning it into a mental object, than photographic images, which now provide most of the knowledge people have about the look of the past and the reach of the present. What is written about a person or an event is frankly an interpretation, as are handmade visual statements, like paintings and drawings. Photographed images do not seem to be statements about the world so much as pieces of it, miniatures of reality that anyone can make or acquire. Photographs, which fiddle with the scale of the world, themselves get reduced, blown up, cropped, retouched, doctored, tricked out. They age, plagued by the usual ills of paper objects; they disappear; they become valuable, and get bought and sold; they are reproduced. Photographs, which package the world, seem to invite packaging. They are stuck in albums, framed and set on tables, tacked on walls, projected as slides. Newspapers and magazines feature them; cops alphabetize them; museums exhibit them; publishers compile them. For many decades the book has been the most influential way of arranging (and usually miniaturizing) photographs, thereby guaranteeing them longevity, if not immortality — photographs are fragile objects, easily torn or mislaid — and a wider public. The photograph in a book is, obviously, the image of an image. But since it is, to begin with, a printed, smooth object, a photograph loses much less of its essential quality when reproduced in a book than a painting does. Still, the book is not a wholly satisfactory scheme for putting groups of photographs into general circulation. The sequence in which the photographs are to be looked at is proposed by the order of pages, but nothing holds readers to the recommended order or indicates the amount of time to be spent on each photograph. Chris Marker’s film, Si j’avais quatre dromadaires (1966), a brilliantly orchestrated meditation on photographs of all sorts and themes, suggests a subtler and more rigorous way of packaging (and enlarging) still photographs. Both the order and the exact time for looking at each photograph are imposed; and there is a gain in visual legibility and emotional impact. But photographs transcribed in a film cease to be collectable objects, as they still are when served up in books.

Photographs furnish evidence. Something we hear about, but doubt, seems proven when we’re shown a photograph of it. In one version of its utility, the camera record incriminates. Starting with their use by the Paris police in the murderous roundup of Communards in June 1871, photographs became a useful tool of modern states in the surveillance and control of their increasingly mobile populations. In another version of its utility, the camera record justifies. A photograph passes for incontrovertible proof that a given thing happened. The picture may distort; but there is always a presumption that something exists, or did exist, which is like what’s in the picture. Whatever the limitations (through amateurism) or pretensions (through artistry) of the individual photographer, a photograph — any photograph — seems to have a more innocent, and therefore more accurate, relation to visible reality than do other mimetic objects. Virtuosi of the noble image like Alfred Stieglitz and Paul Strand, composing mighty, unforgettable photographs decade after decade, still want, first of all, to show something “out there,” just like the Polaroid owner for whom photographs are a handy, fast form of note-taking, or the shutterbug with a Brownie who takes snapshots as souvenirs of daily life. While a painting or a prose description can never be other than a narrowly selective interpretation, a photograph can be treated as a narrowly selective transparency. But despite the presumption of veracity that gives all photographs authority, interest, seductiveness, the work that photographers do is no generic exception to the usually shady commerce between art and truth. Even when photographers are most concerned with mirroring reality, they are still haunted by tacit imperatives of taste and conscience. The immensely gifted members of the Farm Security Administration photographic project of the late 1930s (among them Walker Evans, Dorothea Lange, Ben Shahn, Russell Lee) would take dozens of frontal pictures of one of their sharecropper subjects until satisfied that they had gotten just the right look on film — the precise expression on the subject’s face that supported their own notions about poverty, light, dignity, texture, exploitation, and geometry. In deciding how a picture should look, in preferring one exposure to another, photographers are always imposing standards on their subjects. Although there is a sense in which the camera does indeed capture reality, not just interpret it, photographs are as much an interpretation of the world as paintings and drawings are. Those occasions when the taking of photographs is relatively undiscriminating, promiscuous, or self-effacing do not lessen the didacticism of the whole enterprise. This very passivity — and ubiquity — of the photographic record is photography’s “message,” its aggression. Images which idealize (like most fashion and animal photography) are no less aggressive than work which makes a virtue of plainness (like class pictures, still lifes of the bleaker sort, and mug shots). There is an aggression implicit in every use of the camera. This is as evident in the 1840s and 1850s, photography’s glorious first two decades, as in all the succeeding decades, during which technology made possible an ever increasing spread of that mentality which looks at the world as a set of potential photographs. Even for such early masters as David Octavius Hill and Julia Margaret Cameron who used the camera as a means of getting painterly images, the point of taking photographs was a vast departure from the aims of painters. From its start, photography implied the capture of the largest possible number of subjects. Painting never had so imperial a scope. The subsequent industrialization of camera technology only carried out a promise inherent in photography from its very beginning: to democratize all experiences by translating them into images. That age when taking photographs required a cumbersome and expensive contraption — the toy of the clever, the wealthy, and the obsessed — seems remote indeed from the era of sleek pocket cameras that invite anyone to take pictures. The first cameras, made in France and England in the early 1840s, had only inventors and buffs to operate them. Since there were then no professional photographers, there could not be amateurs either, and taking photographs had no clear social use; it was a gratuitous, that is, an artistic activity, though with few pretensions to being an art. It was only with its industrialization that photography came into its own as art. As industrialization provided social uses for the operations of the photographer, so the reaction against these uses reinforced the self-consciousness of photography-as-art.

Photography

On Photography

By Susan Sontag Humankind lingers unregenerately in Plato’s cave, still reveling, its age-old habit, in mere images of the truth. But being educated by photographs is not like being educated by older, more artisanal images. For one thing, there are a great many more images around, claiming our attention. The inventory started in 1839 and since then just about everything has been photographed, or so it seems. This very insatiability of the photographing eye changes the terms of confinement in the cave, our world. In teaching us a new visual code, photographs alter and enlarge our notions of what is worth looking at and what we have a right to observe. They are a grammar and, even more importantly, an ethics of seeing. Finally, the most grandiose result of the photographic enterprise is to give us the sense that we can hold the whole world in our heads — as an anthology of images. To collect photographs is to collect the world. Movies and television programs light up walls, flicker, and go out; but with still photographs the image is also an object, lightweight, cheap to produce, easy to carry about, accumulate, store. In Godard’s Les Carabiniers (1963), two sluggish lumpen-peasants are lured into joining the King’s Army by the promise that they will be able to loot, rape, kill, or do whatever else they please to the enemy, and get rich. But the suitcase of booty that Michel-Ange and Ulysse triumphantly bring home, years later, to their wives turns out to contain only picture postcards, hundreds of them, of Monuments, Department Stores, Mammals, Wonders of Nature, Methods of Transport, Works of Art, and other classified treasures from around the globe. Godard’s gag vividly parodies the equivocal magic of the photographic image., Photographs are perhaps the most mysterious of all the objects that make up, and thicken, the environment we recognize as modern. Photographs really are experience captured, and the camera is the ideal arm of consciousness in its acquisitive mood. To photograph is to appropriate the thing photographed. It means putting oneself into a certain relation to the world that feels like knowledge — and, therefore, like power. A now notorious first fall into alienation, habituating people to abstract the world into printed words, is supposed to have engendered that surplus of Faustian energy and psychic damage needed to build modern, inorganic societies. But print seems a less treacherous form of leaching out the world, of turning it into a mental object, than photographic images, which now provide most of the knowledge people have about the look of the past and the reach of the present. What is written about a person or an event is frankly an interpretation, as are handmade visual statements, like paintings and drawings. Photographed images do not seem to be statements about the world so much as pieces of it, miniatures of reality that anyone can make or acquire. Photographs, which fiddle with the scale of the world, themselves get reduced, blown up, cropped, retouched, doctored, tricked out. They age, plagued by the usual ills of paper objects; they disappear; they become valuable, and get bought and sold; they are reproduced. Photographs, which package the world, seem to invite packaging. They are stuck in albums, framed and set on tables, tacked on walls, projected as slides. Newspapers and magazines feature them; cops alphabetize them; museums exhibit them; publishers compile them. For many decades the book has been the most influential way of arranging (and usually miniaturizing) photographs, thereby guaranteeing them longevity, if not immortality — photographs are fragile objects, easily torn or mislaid — and a wider public. The photograph in a book is, obviously, the image of an image. But since it is, to begin with, a printed, smooth object, a photograph loses much less of its essential quality when reproduced in a book than a painting does. Still, the book is not a wholly satisfactory scheme for putting groups of photographs into general circulation. The sequence in which the photographs are to be looked at is proposed by the order of pages, but nothing holds readers to the recommended order or indicates the amount of time to be spent on each photograph. Chris Marker’s film, Si j’avais quatre dromadaires (1966), a brilliantly orchestrated meditation on photographs of all sorts and themes, suggests a subtler and more rigorous way of packaging (and enlarging) still photographs. Both the order and the exact time for looking at each photograph are imposed; and there is a gain in visual legibility and emotional impact. But photographs transcribed in a film cease to be collectable objects, as they still are when served up in books.

A photograph passes for incontrovertible proof that a given thing happened.

On Photogra By Susan Sontag

chic damage needed to build modern, inorganic societies. But print seems a less treacherous form of leaching out the world, of turning it into a mental object, than photographic images, which now provide most of the knowledge people have about the look of the past and the reach of the present. What is written about a person or an event is frankly an interpretation, as are handmade visual statements, like paintings and drawings. Photographed images do not seem to be statements about the world so much as pieces of it, miniatures of reality that anyone can make or acquire. Photographs, which fiddle with the scale of the world, themselves get reduced, blown up, cropped, retouched, doctored, tricked out. They age, plagued by the usual ills of paper objects; they disappear; they become valuable, and get bought and sold; they are reproduced. Photographs, which package the world, seem to invite packaging. They are stuck in albums, framed and set on tables, tacked on walls, projected as slides. Newspapers and magazines feature them; cops alphabetize them; museums exhibit them; publishers compile them. For many decades the book has been the most influential way of arranging (and usually miniaturizing) photographs, thereby guaranteeing them longevity, if not immortality — photographs are fragile objects, easily torn or mislaid — and a wider public. The photograph in a book is, obviously, the image of an image. But since it is, to begin with, a printed, smooth object, a photograph loses much less of its essential quality when reproduced in a book than a painting does. Still, the book is not a wholly satisfactory scheme for putting groups of photographs into general circulation. The sequence in which the photographs are to be looked at is proposed by the order of pages, but nothing holds readers to the recommended order or indicates the amount of time to be spent on each photograph. Chris Marker’s film, Si j’avais quatre dromadaires (1966), a brilliantly orchestrated meditation on photographs of all sorts and themes, suggests a subtler and more rigorous way of packaging (and enlarging) still photographs. Both the order and the exact time for looking at each photograph are imposed; and there is a gain in visual legibility and emotional impact. But photographs transcribed in a film cease to be collectable objects, as they still are when served up in books.

aphy Photographs furnish evidence. Something we hear about, but doubt, seems proven when we’re shown a photograph of it. In one version of its utility, the camera record incriminates. Starting with their use by the Paris police in the murderous roundup of Communards in June 1871, photographs became a useful tool of modern states in the surveillance and control of their increasingly mobile populations. In another version of its utility, the camera record justifies. A photograph passes for incontrovertible proof that a given thing happened. The picture may distort; but there is always a presumption that something exists, or did exist, which is like what’s in the picture. Whatever the limitations (through amateurism) or pretensions (through artistry) of the individual photographer, a photograph — any photograph — seems to have a more innocent, and therefore more accurate, relation to visible reality than do other mimetic objects. Virtuosi of the noble image like Alfred Stieglitz and Paul Strand, composing mighty, unforgettable photographs decade after decade, still want, first of all, to show something “out there,” just like the Polaroid owner for whom photographs are a handy, fast form of note-taking, or the shutterbug with a Brownie who takes snapshots as souvenirs of daily life. While a painting or a prose description can never be other than a narrowly selective interpretation, a photograph can be treated as a narrowly selective transparency. But despite the presumption of veracity that gives all photographs authority, interest, seductiveness, the work that photographers do is no generic exception to the usually shady commerce between art and truth. Even when photographers are most concerned with mirroring reality, they

“That age when taking photographs required a cumbersome and expensive contraption — the toy of the clever, the wealthy, and the obsessed — seems remote indeed from the era of sleek pocket cameras that invite anyone to take pictures.”

are still haunted by tacit imperatives of taste and conscience. The immensely gifted members of the Farm Security Administration photographic project of the late 1930s (among them Walker Evans, Dorothea Lange, Ben Shahn, Russell Lee) would take dozens of frontal pictures of one of their sharecropper subjects until satisfied that they had gotten just the right look on film — the precise expression on the subject’s face that supported their own notions about poverty, light, dignity, texture, exploitation, and geometry. In deciding how a picture should look, in preferring one exposure to another, photographers are always imposing standards on their subjects. Although there is a sense in which the camera does indeed capture reality, not just interpret it, photographs are as much an interpretation of the world as paintings and drawings are. Those occasions when the taking of photographs is relatively undiscriminating, promiscuous, or self-effacing do not lessen the didacticism of the whole enterprise. This very passivity — and ubiquity — of the photographic record is photography’s “message,” its aggression. Images which idealize (like most fashion and animal photography) are no less aggressive than work which makes a virtue of plainness (like class pictures, still lifes of the bleaker sort, and mug shots). There is an aggression implicit in every use of the camera. This is as evident in the 1840s and 1850s, photography’s glorious first two decades, as in all the succeeding decades, during which technology made possible an ever increasing spread of that mentality which looks at the world as a set of potential photographs. Even for such early masters as David Octavius Hill and Julia Margaret Cameron who used the camera as a means of getting painterly images, the point of taking photographs was a vast departure from the aims of painters. From its start, photography implied the capture of the largest possible number of subjects. Painting never had so imperial a scope. The subsequent industrialization of camera technology only carried out a promise inherent in photography from its very beginning: to democratize all experiences by translating them into images. That age when taking photographs required a cumbersome and expensive contraption — the toy of the clever, the wealthy, and the obsessed — seems remote indeed from the era of sleek pocket cameras that invite anyone to take pictures. The first cameras, made in France and England in the early 1840s, had only inventors and buffs to operate them. Since there were then no professional photographers, there could not be amateurs either, and taking photographs had no clear social use; it was a gratuitous, that is, an artistic activity, though with few pretensions to being an art. It was only with its industrialization that photography came into its own as art. As industrialization provided social uses for the operations of the photographer, so the reaction against these uses reinforced the self-consciousness of photography-as-art.

Final

Volume 4 Fall 2018

JE SUIS

1 VULNERABLE MORTALITY CRAIG MCDEAN

8 ON PHOTOGRAPHY

SUSAN SONTAG

10 BREAKING BOUNDARIES RICHARD AVEDON

Je Suis

Craig McDean / New York Times

Je Suis

CRAIG MCDEAN

Craig McDean / Jason Rider / New York Times

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Craig McDean / Amilna Estevão / New York Times

“WITH ENERGY AND GLAMOR, ICONIC PHOTOGRAPHER CRAIG MCDEAN CAPTURES THE CELEBRATED EVOLUTION OF FASHION’S BIGGEST MUSES.” Craig McDean / Kendrick Lamar / New York Times

Craig McDean / Jason Rider / New York Times

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The International Center of Photography awarded him the ICP Infinity Award for Applied, Fashion and Advertising Photography in 2008. McDean is today based in New York where he is represented by Art + Commerce. He lives with his wife, the stylist Tabitha Simmons.With energy and glamour, iconic photographer Craig McDean captures the celebrated evolution of fashion’s biggest muses: Kate Moss, Guinevere van Seenus, and Amber Valletta. With their waiflike frames and unique features that contrasted with the supermodels of the ’80s, Amber, Guinevere, and Kate became the anti-supermodels that, alongside grunge, signified a global shift in culture. Craig McDean is one of our most prolific and innovative photographers, renowned for his influential fashion images and portraiture. And Craig McDean, an artist with a talented eye for the striking and unusual, photographed them from their beginnings. McDean, whose works are praised for their conceptual and sophisticated edge, is well respected in both the photography and high designer fashion and conceptual worlds. His editorial spreads are regularly featured in magazines including Vogue, W, and Another Magazine. Although primarily a fashion photographer, McDean has photographed portraits of celebrities including Björk, Madonna, Natalie Portman, Justin Timberlake, Jennifer Aniston, Joaquin Phoenix, Hilary Swank, Uma Thurman, Gael García Bernal and Nicole Kidman. In 2008, McDean was given an Infinity Award for Applied/Fashion/Advertising Photography by the International Center of Photography. McDean is married to former model and stylist Tabitha Simmons, who is also a contributing fashion editor with Vogue. The couple lives in Chelsea, Manhattan with their children. He is represented by Art + Commerce in New York. Craig McDean was born in Middlewich near Manchester in 1964.

Craig McDean / Benjamin Clementine / New York Times

Craig McDean / Liya Kebede / New York Times

Craig McDean / Mica Arganaraz / New York Times

“AN ARTIST WITH A TALENTED EYE FOR THE STRIKING AND UNUSUAL.”

On Photography An Excerpt from Plato’s Cave By Susan Sontag Humankind lingers unregenerately in Plato’s cave, still reveling, its age-old habit, in mere images of the truth. But being educated by photographs is not like being educated by older, more artisanal images. For one thing, there are a great many more images around, claiming our attention. The inventory started in 1839 and since then just about everything has been photographed, or so it seems. This very insatiability of the photographing eye changes the terms of confinement in the cave, our world. In teaching us a new visual code, photographs alter and enlarge our notions of what is worth looking at and what we have a right to observe. They are a grammar and, even more importantly, an ethics of seeing. Finally, the most grandiose result of the photographic enterprise is to give us the sense that we can hold the whole world in our heads — as an anthology of images. To collect photographs is to collect the world. Movies and television programs light up walls, flicker, and go out; but with still photographs the image is also an object, lightweight, cheap to produce, easy to carry about, accumulate, store. In Godard’s Les Carabiniers (1963), two sluggish lumpen-peasants are lured into joining the King’s Army by the promise that they will be able to loot, rape, kill, or do whatever else they please to the enemy, and get rich. But the suitcase of booty that Michel-Ange and Ulysse triumphantly bring home, years later, to their wives turns out to contain only picture postcards, hundreds of them, of Monuments, Department Stores, Mammals, Wonders of Nature, Methods of Transport, Works of Art, and other classified treasures from around the globe. Godard’s gag vividly parodies the equivocal magic of the photographic image., Photographs are perhaps the most mysterious of all the objects that make up, and thicken, the environment we recognize as modern. Photographs really are experience captured, and the camera is the ideal arm of consciousness in its acquisitive mood. To photograph is to appropriate the thing photographed. It means putting oneself into a certain relation to the world that feels like knowledge — and, therefore, like power. A now notorious first fall into alienation, habituating people to abstract the world into printed words, is supposed to have engendered that surplus of Faustian energy and psychic damage needed to build modern, inorganic societies. But print seems a less treacherous form of leaching out the

Jill Krementz / Susan Sontag / New York Magazine

world, of turning it into a mental object, than photographic images, which now provide most of the knowledge people have about the look of the past and the reach of the present. What is written about a person or an event is frankly an interpretation, as are handmade visual statements, like paintings and drawings. Photographed images do not seem to be statements about the world so much as pieces of it, miniatures of reality that anyone can make or acquire. Photographs, which fiddle with the scale of the world, themselves get reduced, blown up, cropped, retouched, doctored, tricked out. They age, plagued by the usual ills of paper objects; they disappear; they become valuable, and get bought and sold; they are reproduced. Photographs, which package the world, seem to invite packaging. They are stuck in albums, framed and set on tables, tacked on walls, projected as slides. Newspapers and magazines feature them; cops alphabetize them; museums exhibit them; publishers compile them. For many decades the book has been the most influential way of arranging (and usually miniaturizing) photographs, thereby guaranteeing them longevity, if not immortality — photographs are fragile objects, easily torn or mislaid — and a wider public. The photograph in a book is, obviously, the image of an image. But since it is, to begin with, a printed, smooth object, a photograph loses much less of its essential quality when reproduced in a book than a painting does. Still, the book is not a wholly satisfactory scheme for putting groups of photographs into general circulation. The sequence in which the photographs are to be looked at is proposed by the order of pages, but nothing holds readers to the recommended order or indicates the amount of time to be spent on each photograph. Chris Marker’s film, Si j’avais quatre dromadaires (1966), a brilliantly orchestrated meditation on photographs of all sorts and themes, suggests a subtler and more rigorous way of packaging (and enlarging) still photographs. Both the order and the exact time

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for looking at each photograph are imposed; and there is a gain in visual legibility and emotional impact. But photographs transcribed in a film cease to be collectable objects, as they still are when served up in books. Photographs furnish evidence. Something we hear about, but doubt, seems proven when we’re shown a photograph of it. In one version of its utility, the camera record incriminates. Starting with their use by the Paris police in the murderous roundup of Communards in June 1871, photographs became a useful tool of modern states in the surveillance and control of their increasingly mobile populations. In another version of its utility, the camera record justifies. A photograph passes for incontrovertible proof that a given thing happened. The picture may distort; but there is always a presumption that something exists, or did exist, which is like what’s in the picture. Whatever the limitations (through amateurism) or pretensions (through artistry) of the individual photographer, a photograph — any photograph — seems to have a more innocent, and therefore more accurate, relation to visible reality than do other mimetic objects. Virtuosi of the noble image like Alfred Stieglitz and Paul Strand, composing mighty, unforgettable photographs decade after decade, still want, first of all, to show something “out there,” just like the Polaroid owner for whom photographs are a handy, fast form of note-taking, or the shutterbug with a Brownie who takes snapshots as souvenirs of daily life.

Hujar & Joffee / Susan Sontag

P H OTO G R A P H Y B Y

R I C H A R D AV E D O N

BOUNDARIES 12

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Richard Avedon / Paul McCartney

S 13

Richard Avedon / Paris

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“Richard Avedon was passionate about photography and devoted his life to capturing the reality of his subjects”

Richard Avedon / Kate Moss

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His portraits were highly renowned for not only his unique black and white style, but also his ability to capture raw, intimate emotion while still maintaining a sense of formality. His photographic ability was extremely versatile as he worked in the political field and medical field, in addition to his fashion and portrait work. He photographed civil rights activists and Vietnam soldiers and also created a collection of portraits of his terminally ill father that appeared in Museum of Modern Art in 1974, and later in the Marlborough Gallery. A collection of his work over the span of his career titled “Richard Avedon: Photographs 19471977”, was presented at the Metropolitan Museum of Art before traveling to different museums all over the world. He has received countless awards for his work including The Royal Photographic Society’s Special 150th Anniversary Medal and Honorary Fellowship in 2003, and was named one of the top ten greatest photographers in the world by Popular Photography magazine. In addition to his collections and honors, wAvedon left behind a commendable legacy in the Richard Avedon Foundation. The foundation, created by Avedon and maintained by his surviving family, serves as a kind of archive of all of his work and “encourages the study and appreciation of Avedon’s photography through publications, touring exhibitions, and outreach to the academic community”. Avedon also inspired the 1957 film, Funny Face, in which the main character is based on his own life. Richard Avedon was passionate about photography and devoted his life to capturing the reality of his subjects. He is one of the most famous photographers of all time because of his groundbreaking photographic techniques and push towards turning photography into more than just pictures by expanding the fashion world and turning the photography genre into a unique art form.

Richard Avedon / Paris

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Richard Avedon / Midwest

Front/Back: Craig Mcdean/ New York Times

Je Suis was designed by Alex West for Typographic Systems, 2017. All of the images and text were sourced from publications and the interent and are only being used for design education purposes. Fonts: Basilla, Berthold, Helvetica, Gil Sans, and Univers. Printed a Jayhawk Ink, Lawrence KS.