mayjunpreview2004 by Commarts

Kuhlmann leavitt Nicholas Wilton Mother Andy Anderson Hoefler &frere-Jones Typography Design for the Public Good

May/June 2004 Eight Dollars www.commarts.com

Nicholas Wilton Left: "I chose the metaphor of a horse race to communicate the idea of competition in the business world . I thought it was interesting that the green shapes of the bushes in the background helped the feeling of movement in the painting ." Steve Ramos, art director; Forbes magazine, client . 13 X 5, acrylic on cardboard . "This painting was from a series done for the Seattle Opera. This particular opera, Rigoletto by Giuseppe Verde, 1851 , is a complicated tale about Rigoletto, the jester of a prince. He not only taunts love, but in the end , in a morbid twist of fate, causes the death of his beloved daughter. The depiction of th is character needed to feel playful but also with a hint of sadness. The black upsidedown heart is a symbol for the inevitable tragic outcome of the opera. " Michele Locatelli, art director; Seattle Opera, client . 11 x 16, acrylic on wood . " On this cover, I was asked to show the future potential of business . The idea of a pathway going into the horizon and the possibility of choosing this path being 'inside' the figure was the thinking behind the image. The clear absence of the figure somehow strengthens the idea that the future success of any business relies in the end , on the sum of the individual decisions of its employees ." Mark Munoz, art director; World at Work magazine, client. 11 X 14, acrylic on cardboard. This page: "This was the box art for a deck of Reiki healing cards . According to the practice of Reiki energy healing , the practitioner places their hands on the patients in order that Chi , or life force, can facilitate healing. Showing hands with positive and energetic symbols of life on and around them seemed a good way to explain Reiki, as well as showing the possibility of obtaining a more full, healthy life . I wasn 't sure why the crown symbol seemed appropriate, but it felt right and has always been my favorite part of the picture ." Michelle Weatherbee, art director; Double Ugee, design firm ; Tuttle Publishing , client . 10 X 10, acrylic on cardboard . "This was one of two paintings I did for Mark Murphy's source book project called Heaven and Hell . The assignment was to depict your own version of these two concepts . This image was the one I created to depict Hell, and ironically was made as our country was preparing to go to war. The four panels in the painting attempt to show hidden motives, greed, fear and the kind of madness that is beyond reason. The symbols from casino cards are a nod to the risk and utter recklessness of our actions in times of war." Mark Murphy, art director; Mark Murphy Design, client . 12 X 12, mixed media .

Comm unication Arts

May/June 2004

Andy Anderson Left: "Lost River Range, Idaho. This was shot during one of our very bad fire seasons one fall. After watching the weather I saw we were going to get a fall storm. We met the guide, positioned him in the river, shot four sheets of film and the light went flat. The orange surreal light was the sun filtering through the fires ." Dale Lantz, creative director; Horton Lantz & Low, ad agency; Sage Fly Rods , client. " Unpublished image for a feature story on Dean Potter, who spends his summers in Yosemite climbing . I love his free spirit and great sense of adventure . This shot was taken on a climb named 'The Rostrom ' overlooking the valley below where he was camping. My assistant and I had to portage my 8 x 10 camera over very large rocks in order to get this vantage point." Rob Haggart, photo editor; Hannah Mccaughey, creative director; Outside magazine, client . This page : "W inter Olympics 2002 . This picture was special for me as it was the day Eric Bergoust (USA) won the gold for the aerials competition. The kind of iconic nature of the jump I love also. This was shot with a handheld 4 x 5 camera ." Ron Stucki, art director; Libby Hyland, creative director; Pauline Ploquin, photo editor; SLOC commemorative book, The Fire Within, client. Print ad for Simms Fishing Products . Headline : Needs : Microfiber hat. Bungalow shirt. Skiff shorts . Airlines to go on strike. " I love this picture because the person sitting in the boat is an old guide I have fished with personally on Andros Island for about ten -plus years . His name is Wellington Markay, he always has a pleasant smile and a great joke to tell . And , yes, the skiff is something Welli actually fishes with ." Jim O'Brien, art director; Jim Hagar, creative director; Mullen, ad agency.

Com municat ion Arts

Hoefler & Frere-Jones

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LEE ROY JORDAN This page: Nitro is an institutional typeface commissioned by Michael Bierut for the New York Jets National Football League franchise, and designed by Tobias Frere-Jones . " Most type families begin with a light roman, and progress gradually to italics and bolder weights. For his Nitro design, inspired by the Jets's long-standing logo, Frere-Jones had to start and finish with a black italic, normally the most distant and peripheral member of a type family. Part of what makes Nitro unique is its extreme slope. While most italics range from 8 to 14 degrees in angle, Nitro clocks in at 28 degrees, making it the most italic typeface H&FJ has ever produced . "Perhaps Nitro's greatest achievement is in its application . While we have designed 4-point fonts for classified ads, Nitro's use on the stadium walls at the Meadowlands Sports Complex marks the first time one of our fonts has been set in 17,280 pt." Michael Bierut, art director; Michael Bierut/ Brett Traylor, designers; Pentagram Design Inc., design firm . Right: Knockout is a family of sans serif typefaces which expands upon Jonathan Hoefler's first typeface, Champion Gothic (1990). "Like Champion, Knockout is inspired by a style of American wood type which was first introduced in the mid-nineteenth century, and remains popular to this day. But unlike Champion, Knockout was designed not merely for display sizes, but for text as well. Knockout was begun in 1994 for the New York Times Magazine and completed in 1998 for the redesign of Sports 11/ustrated. Knockout's range of weights allows some members of the family to be used in especially small sizes - the wide, light Knockout No. 34 is legible in 31/2 pt. And Knockout's range of weights allows headlines of different lengths to be accommodated easily by shifting from one font to the next. Because its range of widths exceeds the usual classifications of 'compressed, condensed , narrow and regular,' Knockout's nine different widths are named after the standards used in professional boxing, from the spindly 'Flyweight' to the gargantuan 'Heavyweight.' (The widest member of the range is named ' Sumo' ). "After its release in 1999, Knockout quickly became a favorite among editorial designers . To date, it has become part of the standard format in hundreds of magazines and newspapers and is used in 37 countries ."

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Communication Arts

Abram Games

orking at a time in which great change was fomented in the design world, Abram Games became in the words of Professor Sir Christopher Frayling, "the most important graphic designer of his generation."

He was born Abraham Gamse, July 29, 1914, in London. His grandmother, Czina, and her husband, Moshe Eliyah, a Talmudic scholar, and their children, like many Jews, fled pogroms in Eastern Europe and settled in Britain. Their daughter Sarah, a seamstress, married Joseph Gamse, whose father was also a Talmudic scholar, and a locksmith by trade. They settled in East London and had three children. Joseph worked in his brother-in-law's photographic business and then opened his own studio. Abraham slept in the attic in a darkroom/workroom. Inspired by his father's photographs and drawings, he began drawing too. He changed his name to Games in 1926 by a deed poll and disliking his first name, changed it to Abram (protesting that the "ham" wasn't kosher). While working as an assistant in his father's photography studio, he attended Saint Martin's School of Art at night. Without a scholarship he couldn't afford art supplies and drew on hatbox lids. He left after two terms, effectively ending his only formal design training. His father's use of an cerograph or airbrush to retouch photographs would have a strong effect on Abram's style of design. Inspired by the posters he saw in railway stations and hoardings, he aimed to create a new style: "I wind the spring and the public, in looking at the poster, will have that spring released in its mind. You have to involve the viewer in your thought processes. There will be an inevitable association between image and advertiser. Lettering, to be kept to a minimum, is never to All images and captions courtesy of Princeton Architectural Press. This page : Abram Games in his War Office Studio, July 1941 . " Games designed the first moving emblem (nick-named the 'Cock-eyed Wonder', 'The Thing' and the ' staring Eye') for the British Broadcasting Corporation . Under Games's direction, Craftsman JF Johnson , made a working model at the Royal College of Art . The central feature consisted of two eyes within a revolving globe circling across it in opposite directions . There were two wings on either side and bands of light would sweep across them . But difficulties arose as the model, made out of brass painted grey, and suspended with piano wires from a wooden frame, kept breaking down . It was, however, co-ordinated, synchronized, and filmed in slow motion . Games also designed regional adaptations, a test chart and a clock based on the symbol." One of thirteen posters Games designed for British Overseas Airways Corporation . 1949. Lithograph .

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Shira Shechter Studio

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Location : Tel Aviv, Israel. Duration : Three years. Staff: Two plus. Shira Shechter, creative

director, graphic designer and illustrator; Dan Anka, administration; plus copywriters, photographers and graphic artists on demand.

Education : Wizo Canada Institute of

Design, Haifa (graphic design and illustration) , Honors Graduate, Winner of 1999-2000 award for excellence, plus a scholarship from the Israel-America Fund. Cultural Influences: Range of eclectic

influences based on indigenous art through Middle-Eastern curios, urban design and fashion . I am motivated by contrasts and moved by borders, beauty and words. I love looking at and collecting from old ads and magazines to early twentieth-century packaging, as well as label design, toys and pop culture. I am inspired by artists such as Friedensreich Hundertwasser, Tibor and Maira Kalman, Jean-Michel Basquiat, Gustav Klimt and Frida Kahlo. Environment: A haven in the center of bustling Tel Aviv in crazy Israel. The city of Tel Aviv is literally an open museum of the Bauhaus architectural style-just hanging out can be a learning curve. My studio is surrounded by a patio, so it's chock-a-block with daylight (which I need overdoses of to survive). My studio is cool and calm but if you peek through the quiet, you can find gadgets, toys and collections of color on display. Cafe culture plays a big role in my life-that's usually where I meet clients and colleagues.

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