Indus trial design—you come
up with a functional need that
you have to solve. So that’s the way we have always approached making clothing. That has been the secret of our success.
Y VON CHOUINARD
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Learning to Break the Rules Beginnings in Blacksmithery The Journey of Innovations Sixties Modern
REDEFINE Robert Brownjohn Kindling For Conversation Cochamo Crack Organic Shirt
I N N OVAT E Wolfgang Weingart The New Wave Stretch Terre Planing Hoody
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DEFY George Lois Bold & Unfiltered Men’s Baggies Longs
REVIVE
Lou Dorfsman Unexpected Restoration Nano Puff ® Jacket
SIMPLIFY Yusaku Kamekura Design For a Greater Purpose Synchilla Pullover
56 64 72
UNIFY Ikko Tanaka Synthesis 3-In-1 Parka
BALANCE Ivan Chermayeff & Tom Geismar Simplified Vibrancy Ultralight Black Hole Hip Pack
M OT I VAT E Shigeo Fukuda Moving Forward Wind Wins Responsibili-Tee®
Learning to Break the Rules Wisdom found in sixties modern designers The modernist movement in graphic design believed in the philosophy of following strict guides to remove the artist from the artwork. Like Patagonia, someone had to be responsible for learning the rules just to break them. Here at Patagonia, we reward people who flip their limitations on the head and embrace their differences as strengths instead of weaknesses. We are choosing to discuss eight artists who go against the grain, push the limits, and merge making civilian lives better while discussing important topics through their designs. In ever y situation we face, Patagonia aims to make the world a bet ter place, no mat ter how people will reac t. These eight artists hold true to our beliefs and we hope you find them just as inspiring as we do.
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Beginnings in Blacksmithery The accidental creation of an unconventional business Yvon Chouinard, Patagonia’s founder, got his start as a climber in 1953 as a 14-year-old member of the Southern California Falconry Club. One of the adult leaders, Don Prentice, taught the boys how to rappel down the cliffs to the falcon aeries. This simple lesson sparked a lifelong love of rock climbing at Stoney Point and Tahquitz Rock, where he met some other young climbers who belonged to the Sierra Club, including T.M. Herbert, Royal Robbins and Tom Frost. Eventually, the friends moved on from Tahquitz to Yosemite, to teach themselves to climb its big walls. In 1957, Yvon went to a junkyard and bought a used coal-fired forge, a 138-pound anvil and some tongs and hammers, and started teaching himself how to blacksmith. Chouinard made his first pitons from an old harvester blade and tried them out with T.M. Herbert on early ascents of the Lost Arrow Chimney and the north face of Sentinel Rock in Yosemite. The word spread and soon friends had to have Chouinard’s chrome-molybdenum steel pitons. Before he knew it, he was in business. He could forge two of his pitons in an hour and sold them for $1.50 each. Chouinard built a small shop in his parents’ backyard in Burbank. Most of his tools were portable, so he could load up his car and travel the California coast from Big Sur to San Diego, surfing. He supported himself selling gear from the back of his car. They took pride in the fact that climbing rocks and icefalls had no economic value; that they were rebels. Their heroes were Muir, Thoreau, Emerson, Gaston Rébuffat, Riccardo Cassin, and Hermann Buhl. In 1965, Yvon went into partnership with Tom Frost and started Chouinard Equipment. During the nine years that Frost and Chouinard were partners, they redesigned and improved every climbing tool to make them stronger, lighter, simpler and more functional. Their guiding design principle came from Antoine de Saint Exupéry, the French aviator: “In anything at all, perfection is finally attained not when there is no longer anything to add, but when there is no longer anything to take away, when a body has been stripped down to its nakedness.” By 1970, Chouinard Equipment had become the largest supplier of climbing hardware in the United States. It had also become an environmental villain because its gear was damaging the rock. The same fragile cracks had to endure repeated hammering of pitons during both placement and removal, and the disfiguring was severe. Chouinard and Frost decided to minimize the piton business. This was to be the first big environmental step we would take over the years. Fortunately, there was an alternative: aluminum chocks that could be wedged by hand rather than hammered in and out of cracks. We introduced them in the first Chouinard Equipment catalog in 1972. A 14-page essay by Sierra climber Doug Robinson on how to use chocks appeared in the catalog, paving the way for future environmental essays in Patagonia catalogs. Within a few months of the catalog’s mailing, the piton business had atrophied; chocks sold faster than they could be made.
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The Journey of Innovations How our past influences our present On a winter climbing trip to Scotland in 1970, Chouinard bought a
Our replacement for polypropylene came in 1984. While walking
regulation-team rugby shirt to wear rock climbing. Built to withstand
around the Sporting Goods show in Chicago, Chouinard saw a
the rigors of rugby, the shirt had a collar that would keep the hardware
demonstration of polyester football jerseys. Milliken, the company
slings from cutting into his neck. It was blue, with two red and one yellow
that made the jerseys, had developed a process that permanently
center stripe across the chest. Back in the States, Chouinard wore it
etched the surface of the fiber as it was extruded, so that the
around his climbing friends, who asked where they could get one.
surface became hydrophilic—it wicked moisture away from the body to the outside where it could evaporate. Chouinard saw the
Our company was growing, and we began to see clothing as a
fabric as perfect for underwear, and Capilene® polyester was born.
way to help support the marginally profitable hardware business. By 1972, we were selling rugby shirts from England, polyurethane rain
In fall 1985, we shifted our entire line of polypropylene underwear
cagoules and bivouac sacks from Scotland, boiled-wool gloves and
to the new Capilene® fabric. It was a big risk, similar to our
mittens from Austria, and hand-knit reversible beanies from Boulder
introduction of chocks in 1972. During the same season, we also
(no two were alike). At a time when the mountaineering community
introduced the new Synchilla fleece. The older products made of
relied on the traditional, moisture-absorbing layers of cotton, we looked
polypropylene and bunting had represented 70 percent of our
elsewhere for inspiration—and protection. We decided that a staple of
sales. But our loyal core customers quickly realized the advantages
North Atlantic fishermen, the synthetic pile sweater, would make
of Capilene and Synchilla, and sales soared.
an ideal mountain layer, because it would insulate well without absorbing moisture. But we needed some fabric to test out our idea,
During the early 1980’s, we made another important shift. At a time
and it wasn’t easy to find.
when all outdoor products were either tan, forest green or (at the most colorful) powder blue, we drenched the Patagonia line
Finally, Malinda Chouinard, acting on a hunch, drove to the Merchandise
in vivid color. We introduced cobalt, teal, french red, aloe,
Mart in Los Angeles. She found what she was looking for at Malden Mills,
seafoam and iced mocha. Patagonia clothing, still rugged,
freshly emerged from bankruptcy after the collapse of the fake
moved beyond bland looking to blasphemous.
fur-coat market. We sewed up some samples and field-tested them in alpine conditions. Synthetic pile had a couple of drawbacks, but it was astonishingly warm, particularly when used with a shell. It insulated when wet, but also dried in minutes, and it reduced the number of layers a climber had to wear. It does no good to wear a quick-drying insulation layer over cotton underwear, which absorbs body moisture, then freezes. So in 1980 we came out with insulating long underwear made of polypropylene, a synthetic fiber that has a very low specific gravity and absorbs no water. It had been used in the manufacture of industrial commodities like marine ropes, which float. Although both pile and polypropylene were immediately successful, we worked hard from the start to improve our quality and overcome the problems of both fabrics. We worked closely with Malden to develop first a softer bunting fabric,and eventually Synchilla®, an even softer, double-faced fabric that did not pill at all. While Malden’s access to capital made many of the innovations possible, Synchilla never would have been developed if we had not actively shaped the research and development process. From that point forward, we began to make significant investments in research and design.
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SIXTIES MODERN
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Lessons of Modernism with a Twist The Defining Factors of Sixties Modernism The modernist style arose from designers that had a passion
Lou Dor f sman (bot tom, middle) utilized clear t ypography,
for bettering the lives of everyday people around them through
simple slogans, and smart illustration in his designs. He did not
the use of play ful, accessible, and approachable designs.
take anything but perfection and believed in doing anything that
Whether it be way finding or advertisement work, the philosophy
needed to get done. He worked for CBS for most of his career,
stayed the same: understanding design meant understanding
eventually becoming a creative direc tor over CBS Television.
people, because design is for people. When tr ying to make
He took the guidelines of his job title and flipped them on their
accessible design that is at trac tive to ever y person in need,
head, and did anything that needed to get done.
the characteristics being used definitely had to be simplified. Modernist design focuses on the use of color, cleanliness,
Yusaku Kamekura (middle, lef t) , also known as “Boss”, was a
and the belief that more is less.
Japanese graphic designer. He was the leading figure in the post-World War II Japanese graphic design field, and blended the
When looking through designers from this era, eight of them
functionality of modernist principles with the grace of traditional
stuck out for how they accepted the rules of modernism and
Japanese design.
decided how they would best be broken. Nothing is more powerful than going against the norm and taking the harder
Ikko Tanaka (top, lef t) was a Japanese graphic designer who
path, and these eight artists did just that.
focused on strong and clean designs that incorporated playful colors and other design decisions. He took the rules of the
Robert Brownjohn (top, right) helped redefine graphic design,
modernis t idea and fused them with traditional Japanese
and helped move it from a formal ar t to conceptual. In his
aesthetics, merging the past and present in his compositions.
projects,he emphasized content over form and featured his preference for ordinary and personal images. When studying
Ivan Chermayef f and Tom Geismar (bot tom, right) were the
at the Chicago Institute of Design another student asked
cofounders of one of the most well known design firms worldwide.
“What is graphic design?”, to which Brownjohn responded
T hey foc us ed pr imar il y on quie t and s tead y designs wi t h
“I am.” He knew what he was capable of changing and forced
universally known symbols, while also heavily relying on a
the rules of modernism to work for him.
relationship with their clients.
Wolfgang Weingar t (top, lef t) is categorized in design as
Shigeo Fukuda (middle, right) believed that if you could design
“the father” of a new style inside of Modernism called Swiss
one thing well, you could design any thing. His work focused
Punk. He would not allow the strict limitations of Modernism
on the minimalist modern style, while merging it with his own
to hinder his process that needed him to be play ful and
personal decisions.
experimental, yet he also found the good qualities of this style and adapted them to work for him personally. He encourages designers to take the rules of a movement and “blow them apart”, never allowing yourself to be limited to just one style. George Lois (bottom, left) said himself “I am not a designer, I am a communicator.” He works primarily on using simplified design styles to raise questions for whoever is viewing his work. He allows himself to be radical and open about subjects that would otherwise be frowned upon.
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R E D E 12
F I N E 13
Rober t Brownjohn
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T H E R E D E FI N I N G S PI R I T O F
ROBERT BROWNJOHN Brownjohn was born to British parents in New Jersey and had a
details the adventures of Brownjohn through detailed information
successful career in both America and Great Britain during the
provided by friends and family as well as chronicling his career and
1950’s and 60’s. He immediately showed promise as a young
the work that he produced. Brownjohn helped to redefine graphic
design student at the Institute of Design in Chicago, previously
design, to move it from a formal to a conceptual art. His projects
The New Bauhaus, where he studied closely with Laszlo Moholy-
exemplify every aspect of his relationship to design, including his
Nagy. His career ramped up to an early start when he formed the
emphasis on content over form and his preferences with ordinary
design firm BCG with Ivan Chermayeff and Thomas Geismar.
and personal images.
However, that career came to an early end in 1959 with Brownjohn heading to London, the firm became Chermayeff & Geismar. His career in London proved as successful as his early career in the US with his most notable contributions coming in the film industry. He also worked within several other industries, creating moving graphics for Pirelli and Midland bank and created the cover for the Rolling Stones album Let It Bleed. A 240 page catalogue by Emily King that was produced for an exhibition detailing Brownjohn’s career entitled “Robert Brownjohn: Sex and Typography” held at the Design Museum in London was also published as a book of the same name. Sex and Typography
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Kindling for Conversation A study in graphic restraint The original client for the Peace Poster was New York’s Vietnam Peace
The question BJ posed with this piece sparked conversation. One of
Moratorium Campaign, and the commission was orchestrated by
the major goals of Patagonia is to create an impact through our
BJ’s longtime friend and graphics printer Dick Davison in November
business. We believe we’ve been granted a unique opportunity to fan
1969. BJ’s Peace Poster is a masterpiece of graphic restraint.
the flame of change through our platform. A cause near and dear to
Using the minimum of materials arranged in the sparest of fashions,
our heart is the plight of the gateway to Patagonia—the Cochamo
it not only communicates a simple direct message, but also hints at a
Valley. The valley is not preserved as a national park and is at risk of
host of alternative interpretations and subplots.
its natural beauty being trashed. The Cochamo Crack Organic Shirt raises awareness for this beautiful landmark that deserves to survive for
The Peace Poster is built from four elements: The Ace of Spades is
generations to come.
hand-scrawled surround; BJ’s more adeptly written monogram; and an extravagant quantity of white space. Each of these ingredients is arranged in perfect proportion with all the others. The generous border framing the playing card lends drama. The similarity of scale between the letters ‘PE’ and the decorative Spade at the center of the Ace promotes the instant apprehension of the word ‘peace’. The contrast between the shaky uncertainty of the lettering on the poster and the
“... not only communicates a simple direct message, but also hints at a host of alternative interpretations and subplots.”
confident designerly hand of Brownjohn’s ‘Love – Bj’ casts an air of ambiguity over the entire composition. The Ace of Spades is universally recognized as the death card and by including it in his poster it was BJ’s intention to question if death is the ultimate peace?
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ROBERT BROWNJOHN
Cochamo Crack Organic Shirt Conservation at it’s finest Valle Cochamó is under major threats from hydropower development and deserves to be preserved for generations to come. Because this everyday T-shirt is made with organic cotton, it uses 84% less water and creates 16% less CO2 than a conventional cotton T-shirt.
Men’s Cochamo Crack Organic Shirt $35 | 37452 | XS-XLL | Regular Fit | 153 g (5.4 oz)
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I N N O 20
V A T E 21
Creative Review UK
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T H E I N N OVAT I O N O F
WOLFGANG WEINGART
Wolfgang Weingart was most influential as a teacher and a design philosopher. He began teaching at the Basel School of Design, where he was appointed an instructor of typography by Armin Hofman in 1963. He also taught for the Yale University Summer Design Program in Brissago. Throughout his entire career he spent time traveling and lecturing throughout Europe, the Americas, Asia, and Australia. He taught a new approach to typography that influenced the development of New Wave, Deconstruction, and much of graphic design in the 1990’s. While he would contest that what he taught was also Swiss Typography, since it developed naturally out of Switzerland, the style of typography that came from his students led to a new generation of designers that approached most design in an entirely different manner than traditional Swiss typography.
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The New Wave How ordinary inspiration leads to innovation Wolfgang Weingart’s New Wave of typography experimented with the grid to create a type style with more personality. Weingart’s travels often inspired his work: “My travels through the mysterious, endless expanse of the Syrian desert, and the Orient, for example, conjured up typographic images. Dried-up riverbeds reminded me of curved composing lines, tended fields of straight ones. The pattern of houses and alleys on the edge of the desert made me think of handset blocks of type.” The Kunst Gewerbe poster reflects Weingart’s typographic experimentations deriving from the semantic, syntactic, and pragmatic functions of typography. In comparison with the Swiss Typography, based on the syntactic function, with this poster Weingart expresses his interest in extending the graphic qualities of typography. The Stretch Terre Planing Hoody reflects the style of the New Wave, a movement that incorporated new ideas to a traditional philosophy. In the same way, the Stretch Terre Planing Hoody is adaptable, possessing the ability to protect both in and out of water.
“...experimented with the grid to create a type style with more personality.”
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WOLFGANG WEINGART
Stretch Terre Planing Hoody Built to last you forever Designed to protect you from all the elements both in and out of the water, the Stretch Terre Planing Hoody is a lightweight, full-zip hoody made from 100% recycled polyester with 50+ UPF sun protection. Self-draining, mesh-lined front slash pockets with noncorroding, recyclable plastic zippers and added zipper pulls for ease of use.
Made of recycled polyester, which helps lessen our dependence on petroleum based materials.
Features Flourinated DWR (durable water repellent) to help keep garments dry.
Protects skin from harmful UV radiation through the use of UPF treatments.
Tiger Tracks Camo $119 | 86186 | XXS-XXL | Regular Fit | 252 g (8.9 oz)
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Adjustable hood can be stowed away
Full-zip front has noncorroding recyclable plastic zipper with added zipper pull for ease of use
Hidden entry detail at bottom of lowerleft yoke for kite-harness compatibility; kite harness can be hooked in underneath or over the jacket
Durable elastic cuffs have thumb loops to keep sleeves in place; single-pull adjustable drawcord hem
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F Y 29
Dame Magazine
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T H E D E FI A N C E O F
GEORGE LOIS While he is one of the most successful creative advertisers of the
While George Lois’s career has afforded him many successes, it is
20th century, George Lois is quick to recognize his upbringing.
undoubtedly his covers for Esquire that are most recognized.
Born to a hard working Greek family, Lois grew up in the Bronx,
Throughout the 1960’s and 1970’s, Lois worked with Esquire editor
where he started working in his fathers flower shop at the age of 5.
H arold Hayes to create covers for the magazine that effectively
His early career brought him in contact with the CBS Advertising
represented some of the most notable ideas of their time.
department, Sudler & Hennessy, and Herb Lubalin; and he would probably be the first person to admit that he owes them a debt of gratitude saying, “People who don’t think they owe something to somebody are crazy.”. Wherever it is that he came from, he has left his mark on the advertising world through his successful work for MTV, VH1, Esquire, ESPN, Tommy Hilfiger, and USA Today. In 1959 Lois began working at the advertising agency that would give birth to big idea thinking and the revolution of the advertising industry, Doyle Dane Bernbach (or DDB). Not a huge fan of the current state of the advertising world, he has proclaimed that advertising is an art and not a science, and that only mediocre ideas need testing.
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Bold & Unfiltered Embodying the spirit of Esquire’s Magazine Covers Subtitled “The Passion of Muhammad Ali,” the cover image set the
In comparison to the Men’s Baggie Longs in Fox Red, not only reflects
standard for modern magazine creative moxie. The day of the photoshoot,
on Muhammad’s background, but it also represents the strong
which took place in longtime Esquire photographer Carl Fischer’s New
willpower both Muhammad and Lois had. Muhammad stood up for
York City studio, Lois showed Ali a postcard of a St. Sebastian painting
what he believed was right, and never showed any fear. Lois’s style
by the 15th-century Italian artist Francesco Botticini. Ali liked the idea
focused around topics that most people were too scared to talk
of the photoshoot but had misgivings about posing as a Christian.
about. He brought attention to important topics in impactful ways.
Fischer put in a frantic, last-minute phone call to Herbert Muhammad (Elijah Muhammad’s son) in Chicago and he gave his consent for Ali to take part in the Christian symbolism. Lois had the idea to place six arrows onto Ali’s torso and leg: deadly wounds. Ali’s hands were placed behind his back and his face was turned upward as if looking to heaven. Fischer shot the
“The cover image set the standard for modern magazine creative moxie... He brought attention to important topics in impactful ways. They never showed any fear”
photo on color film; The backdrop is stark white, as are Ali’s satin boxing shorts, shoes, and socks. The Esquire logo and waistband of the Everlast shorts are black. Red blood runs down Ali’s brown skin, which has a warm glow from Fischer’s studio lights.
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GEORGE LOIS
Men’s Baggies Longs A fan favorite for everyday wear Rugged, multifunctional shorts designed for use in and out of the water, made with quick-drying 100% recycled nylon.
Men’s Baggies Longs $55 | 58034 | XS-XXL | Relaxed Fit | 227 g (8 oz)
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R E V 36
I V E 37
Fanboy
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T H E R E V I VA L O F
LOU DORFSMAN Lou Dorfsman studied at the Cooper Union, where he received a four year scholarship, and it was not long after his graduation that he began working for CBS. In 1964, he became the design director for all of CBS. As the design director, he oversaw the use of the infamous CBS eye logo, produced the annual reports and other promotional materials, and designed the interior signage and graphics of the entire CBS building, which was designed by architect Eero Saarinen. One of his most revered works was the Gastrotypographicalassemblage, a 35-foot long wall of carved wooden words, created for the dining area in the building.
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LOU DORFSMAN
Unexpected Restoration Because good design should last forever As the senior vice president and creative director for marketing
Since it was in an advanced state of disrepair from its improper
communications and design for CBS, Dorfsman was responsible for all
storage, restoration was necessary for this piece to be given new life.
aspects of the building’s graphics, designating the type, design and
After Lou Dorfsman’s death, the Culinary Institute of America in
spacing for wall clocks, elevator buttons, and even elevator inspection
New York announced they would be the new loving home for
stickers. He designed what he called “Gastrotypographicalassemblage”
“Gastrophicalassemblage.” They worked with Nick Fasciano to fund
for the building’s cafeteria, using varied typefaces to list all of the foods
the restoration. He proceeded to fix a majority of the piece, which
offered to patrons in hand-milled wood type.
included hand cutting, sanding, and painting each element.
The completed work was based on ideas conceived in the mid-1960’s.
Here at Patagonia, we believe that anything we produce, whether it
The project was ultimately completed in 1966 with assistance from
be a 35 x 8.5-foot work of art or a simple jacket, should be built to last.
graphic designers Herb Lubalin, and Tom Carnase, who crafted the
We decided to pair his artwork with one of our most timeless,
typography from Dorfsman’s original design. Dorfsman considered
popular items, the Nano Puff Jacket. We honor Dorfsman for his
this work to be “his magnum opus, his gift to the world”. The piece
determination in this large project, and also honor Fasciano in his
was discarded by CBS in the early 1990’s, but the panels’ history
restoration practices that allowed us all to see this beautiful piece.
does continues. When designer Nick Fasciano heard about this legendary artwork being discarded, he retrieved it from the trash.
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“Gastrotypographicalassemblage” is an installation art piece designed by Lou Dorfsman for the cafeteria in the CBS Building in New York City... using varied typefaces to list all of the foods offered to patrons in hand-milled wood type”
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LOU DORFSMAN
Nano Puff® Jacket A bestseller for a reason Warm, windproof, water-resistant— the Nano Puff® Jacket uses incredibly lightweight and highly compressible 60-g PrimaLoft® Gold Insulation Eco 100% postconsumer recycled polyester with P.U.R.E.™ (Produced Using Reduced Emissions) technology, wrapped in a 100% recycled polyester shell and lining.
Women’s Nano Puff® Jacket $199 | 84217 | XXS-XXL | Regular Fit | 284 g (10 oz)
Men’s Nano Puff® Jacket $199 | 84212 | XS-3XL | Regular Fit | 337 g (11.9 oz)
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S I M P 44
L I F Y 45
NC State Universit y
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T H E S I M PL I C I T Y O F
YUSAKU K AMEKUR A
Born in the Niigata prefecture in Japan and also a student of the
Institute of New Architecture and Industrial Arts, Yusaku Kamekura was more than acquainted with the Bauhaus principles and sense of design. Starting his design career at the publishing company Nippon Kaupapu, Kamekura has more than half a decade of experience in the design world. Combining the influences of the Bauhaus with insight to his traditional Japanese heritage, his work is recognized for its colorfully minimalist approach. Perhaps most well known for his work for the Tokyo 1964 Olympics, he combined modernist principles and typography with Japanese cultural heritage through the simplistic combination of the words “Tokyo 1964”, the olympic rings and the sun from the Japanese flags. His work for the Olympics also marked the first time that photography was used to promote the event. Another success of equal magnitude was his poster design for the 1970 Expo in Osaka, which won several national and international design awards.
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Design for a Greater Purpose Art that creates real change Kamekura’s work incorporates the post-war western influences of modernism on design in Japan. Kamekura has found a synthesis between the rational, logical, and functional design systems of the west and the classical grace of traditional Japanese design. This color screenprint, Atoms for Peace Poster issued by the Committee on the “Peaceful Uses of Atomic Energy” shows the correlation between these two ideas. While using simple line work and colors in his posters, he also creates a captivating piece that displays the deeper meaning behind the symbols. We can also find these techniques in Patagonia’s Women’s Lightweight Synchilla Snap-T Fleece Pullover. The first initial connection that is made between the two is the simplicity of color. Yusaku’s poster for the Committee on the Peaceful exemplifies the movement of atomic energy using only simple elements, like the Synchilla fleece resembles the Aurora Borealis.
“...functional design systems of the west and the classical grace of traditional Japanese design”
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YUSAKU K AMEKUR A
Synchilla Pullover Stay cozy Providing everyday warmth and comfort, this classic pullover is made with 100% recycled Synchilla polyester fleece.
Women’s Synchilla Pullover $139 | 25455 | XXS-XXL | Relaxed Fit | 363 g (12.8 oz)
Men’s Synchilla Pullover $139 | 25450 | XXS-3XL | Relaxed Fit | 530 g (18.7 oz)
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I F Y 53
The Design Museum
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T H E U N I F Y I N G E SS E N C E O F
I K KO TA N A K A Born in Nara, Japan in 1930, Ikko Tanaka created a style of graphic design that fused modernism principles and aesthetics with the Japanese tradition. As a child, he studied art and as a young adult he was involved in modern drama and theatrical study groups. In 1963 he formed Tanaka Design Studio, where he worked for corporations such as Mazda, Hanae Mori, Issey Miyake, and the International Garden and Greenery Exhibition. He is most well-known for his poster design for the Nihon Buyo performance by the Asian Performing Arts Institute. The poster (pictured above) shows his fusion of modernist sensibilities and traditional Japanese culture through the simplified illustration of a geisha. Tanaka designed, among other things, posters, logos, packaging, and annual reports. Among his wide ranging work, his designs for the symbols for the Expo ‘85 in Tsukuba and the World City Expo Tokyo ‘96 garnered much attention. He died in 2002 of a heart attack at the age of 71.
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Synthesis Learning to merge the popular with the timeless Ikko Tanaka succeeded in marrying past and present through his
Like Tanaka, Patagonia aims to merge popular styles with timeless
graphic compositions, which were strong and clean, colorful and
materials to create everlasting products. Tanaka was so successful for
playful, and unerringly precise. He borrowed the simple shapes and
his ability to make design work that features timeless and historical
patterns of ancient arts and incorporated them into designs that were
subjects while being modern enough to be appealing to current
definitely of his time and place. He fused Japanese tradition with
circumstances. The Three in One Parka is a versatile piece of clothing
International Style architecture, contributing a modern sensibility to
drawn from past successes, as well as making it more effective for the
Japanese poster and publication design.
current audience.
His best-known poster, conceived in 1981 for the dance troupe Nihon Buyo Performance and reused for various purposes, features an abstract version of a geisha. Rather than a classic realistic rendering, Mr. Tanaka created the head and shoulders out of stark geometric forms on a grid: squares and rectangles make up the hair and face. It is typical of Japanese decorative simplicity but surprisingly novel in
“He fused Japanese tradition with International Style architecture, contributing a modern sensibility to Japanese poster and publication design.”
its reductive angularity. Mr. Tanaka’s palette, a vibrant combination of pastels and primaries, was also a synthesis of old and new.
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I K KO TA N A K A
3-In-1 Parka Versatility that makes life easier Made for the wettest and coldest climes, the waterproof and windproof 2-layer, 3-in-1 polyester (50% recycled) stretch twill parka is insulated with 700-fill power 100% Recycled Down (duck down reclaimed from down products).
Women’s 3-In-1 Parka $599 | 28409 | XS-XXL | Slim Fit | 1,446 g (51 oz)
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B A L A 60
N
C E 61
The New York Times
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T H E BA L A N C E O F
I VA N C H E R M AY E F F AND TOM GEISMAR A big-time player in the company identity and branding world,
Chermayeff and Geismar have been in the business since 1958. They have designed logos for international corporations including Chase Bank, National Geographic, Merck, Mobil, PanAm, PBS, and many others. Both Chermayeff and Geismar studied at the Yale University School of Art and Architecture, combined they have been involved in over 100 major identity development projects since the inception of the firm. Their approach to design problems is renowned for the amount of collaboration involved and client involvement in the process through which they work. While Robert Brownjohn was involved in the early years of their development, they parted ways after only a few years together. They have operated under several versions of the Chermayeff and Geismar name over the years and have completed an immense amount of work with various partners. Their website showcases a nice chronology of their work.
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Simplified Vibrancy Functionality and personality in harmony The National Broadcasting Company tried a number of different logos over the years—a stylized N, the N superimposed on the peacock— but nothing had worked effectively to represent this major network. The peacock has since become one of the world’s most highly recognized trademarks, appearing with every station, program brand, and platform— such as MSNBC, CNBC, local stations nationwide, Comcast Corporation, NBC News, and numerous others. In order to make the peacock both a more functional and ownable symbol, they had to reimagine its form: the bird’s silhouette was streamlined, the number of feathers reduced from eleven to six, and the feather shapes regularized. The bright colors assigned to the feathers are the primary and secondary colors of television. The peacock had been facing left—the wrong way for a reader’s eye— so it was flipped to face right. Finally, the bird’s body becomes an
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upside-down feather, created in the negative space. The shape of the
peacock, this fanny includes multiple similar color choices including:
previous pointed N is recalled in the simple letterforms for the new
yellow, orange, blue, purple, and green. From a design standpoint
NBC wordmark which generally appears under the bird. In addition,
this seems like too many colors to include in a simple design but Ivan
a cohesive system with complimentary typography was designed to
Chermayeff, Tom Geismar, and Patagonia have proven that incorrect.
unify the various divisions and programming themes of NBC. As a comparison product, Patagonia’s Patchwork: Steller Blue Mini Hip Pack has some of the same vibrant inspired style as well. One of the most important ideas that is seen is simplicity with creativity. Chermayeff and Geismar were aiming to keep the vibrance that the colored feathers of
“...a cohesive system with complimentary typography to unify the various divisions and programming themes of NBC.”
a peacock gave without making the logo too complex. They took away elements and shifted different sections to end with an easily recognizable, likeable design. Patagonia seemed to be thinking the same way when they were designing this colorful fanny pack. The pack is made to be lightweight with a tough material that will last. They have also included its own little pocket that it stows away into when it is not in use. Like the
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C H E R M AY E F F A N D G E I S M A R
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Ultralight Black Hole Hip Pack $29 | 94257 | One Size | Adjustable Fit | 100 g (3.52 oz)
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M O T I
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V A T E
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Behance
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T H E M OT I VAT I O N O F
SH IGEO FU K U DA
“I believe that in design, 30 percent dignity, 20 percent beauty, and 50 percent absurdity are necessary,” Shigeo Fukuda told Idea Magazine. Fukuda was born in 1932 in Tokyo, Japan to a family primarily employed as toy makers. Early in his adulthood he had an interest in the principles of Swiss design and starting in 1956 he attended the Tokyo University of Fine Arts and Music. The first Japanese designer to be inducted into the New York Art Directors Club Hall of Fame, his work is recognizable for its simplicity and use of visual illusions. One of his most famous works is entitled Victory 1945, and it won him a grand prize at the Warsaw Poster Contest in 1975, a competition whose proceeds helped fun the Peace Fund Movement. Much of Shigeo’s work was designed to make a social impact rather than a commercial one and he was a strong advocate for pacifism and environmentalism. Not only a designer, he also practiced sculpture, one example of which was a large sculpture of silverware that resembled a helmet but cast an intricate shadow of a motorcycle titled Lunch with a Helmet On. He died in 2009 of a heart attack.
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Moving Forward Design engaging individuals in the fight Fukuda’s most famous poster, entitled Victory 1945, is a bitingly satirical commentary on the senselessness of war. It’s an illustration of a cannon barrel with its shell pointing downward, back towards the opening, sealing it forever. In a world where war is big business, Fukuda’s chilling, simplistic concept of peace and the containment of nuclear proliferation is absolutely brilliant. It won him a grand prize at the 1975 Warsaw Poster Contest. All proceeds from the competition went to the Peace Fund Movement. As always, Fukuda goes far beyond the bounds of plain function to express a universal plea for peace. Growing up in a complicated period in history is not easy, but the people who were determined to make it better were able to make a difference. Winning things throughout life makes people only wanna do better, motivating others to join in. Spreading the word is how things grow, especially in times of need. This piece connects to the Wind Wins Responsibili-Tee in having that view and fighting for what we believe in.
“Fukuda’s chilling, simplistic concept of peace and the containment of nuclear proliferation is absolutely brilliant”
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SHIGEO FU KU DA
Wind Wins Responsibili-Tee® Join the fight Wind wins. Stand with us in the fight against climate change and show your suppor t for investing in renewable energy. This 100% recycled polyester and cotton T-shirt is made with 4.8 scrap, using 96% less water and 45% less CO2 than a conventional cotton T-shirt.
Men’s Wind Wins Responsibili-Tee® $35 | 37437 | XS-XLL | Regular Fit | 213 g (7.5oz)
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SOURCES AND CREDITS
I N F O R M AT I O N Beta
BRIANNA ELWELL Cover
Chermayeff & Geismar & Haviv
Table of Contents
Design is History
Artist Spreads
Design Observer
Credits
Eye Magazine Graphics Inc. Galerie 123 It’s Nice That The New York Times Patagonia Robert Brownjohn Visual Art Department Victoria & Albert Museum
IMAGES Patagonia Unsplash
HANNAH SEARCY Cover Beginnings in Blacksmithery The Journey of Innovations Sixties Modern CAROLINE REYNOLDS Cover Learning to Break the Rules Sixties Modern Product Information
MoMA Spoon & Tamago
TAY L O R M U R P H Y
Typographics
Cover
The Undefeated
Artwork Comparisons
Visual Melt
Text Sourcing
Cover: Twisting sandstone walls. Antelope C anyon ec hoes t he reinventi ve na t ure of sixties modern ar tists. ROL AND SZÉP
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