PAPER LINES
PAPER LINES
This book is dedicated to my friends and family because, just like this art book about Sabeena and Paula, they are appreciated, different than each other, and wonderful. John
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This bo ok was created to show artwork case th that tow e inspir g re a t female ational and 3D artists h . The co ave don ntrast o e in 2D f the tw with th o artists eir own come th method s of lay rough style of ing out art that type an inspires d in the s the th em whe tudio. J n they oining a re w th Yang H orking em tog armony ether m of pape akes a Ying & r and li nes.
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Sabeena and Paula’s work embrace the light and dark respectfully on their canvas regardless the medium and they do share similarities in form and content. With a clear understanding of the goal of they tell a story that either has a political or celebratory message. Their work comes across with this message that comes alive such as Paula’s strong dark color, geometry, and industrial aesthetic and Sabeena’s narrative of celebration, bright & soft colors, and decorative details to enhance the typography into fine art. Not only are these two very different artists on different sides of the world they are also giving life to art in different realms such as the 2D and 3D world of art. Illustrator/Typographer Sabeena Karnik from Mumbai, India has developed a name for herself with her fantastic use of paper typography called “Quilling” and has been featured globally on websites, advertisements, and print. The complexity that is quilling that Sabeena specializes in is create piece by piece by hand and many art pieces can take days. Graphic Designer/Painter Paula Scher from America is a pioneer of branding and leadership in the design world. She has designed everything from iconic record album covers for CBS/Atlantic to reinventing the face of institutes and organizations. What I would also like to discuss is the backbone of her typographic solution based on the vocabulary & shapes of a power design style called Russian Constructivism. Both of these women are pioneers and I hope sharing the colors, shapes, and lines of their art will excite and inspire you.
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Art by Sabeena Karnik
Sa
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Art by Sabeena Karnik Art by Sabeena Karnik
Sabeena is an independent illustrator
Her meticulous detail into laying out
and typographer specializing in paper
her shapes piece by piece is brilliant.
sculpture and 3D illustration.
In a personal interview over Facebook
The bright colors are quite impactful
I asked her about her inspiration “Most
inside the type that are made from
things I see around me are inspiration,
strips of thin white or colored paper.
especially the nature, lines, shadow,
and forms� and “I like to keep it all
retains that human element by not
abstract sometimes at times I keep
making it digital. Her art style has an
it realistic individual interpretation�
element of photography because of
Sabeena does not use any computers and she also told me that a bit of error is perfectly natural and that is what
their 3D Nature. With a digital camera she takes clean pictures of each one of her new creations which have been
15
selected for Google International Women’s Day & India’s Independence Day celebration. Her artwork is also on the cover of the “Little Do We Know” by Tamara Ireland Stone in 2018 which hit New York Times Best-Seller list when it was released. Here newest artwork, such as the new Alphabet Project that can be found on her Adobe Behance page, Instagram, Twitter, and Facebook. designs draw curious eyes to not only the complex style but also to her technique which takes incredible amounts of patience and a steady hand. I wanted to learn how to learn how to quill paper like her and many elements such as the cover and shapes inside the book were made by me as tests projects. It was hard but well enjoyed.
Little Do We Know Art by Sabeena Karnik Hachette Books
es m ti at ” nd tion a es eta m p i et ter om n in s ct ow a r y t bs h m a it wit p e c ke listi to ea e r k li it “I ep ke
Verve Magazine XXII “The Design Issue”
Sabeena Karnik Google Doodle 2019
Patriotic paper from the heart by Deepa Venkatraman
Google released the commemorate 70 years of Indian Independence art project back in 2019. The structure of the Parliament building that overlooks the artistic Ashoka Chakra and curly peacocks did stand out. The artwork, posted on her own creator’s Instagram has got more than 4,000 likes, where none other than Google’s CEO Sundar Pichai had appreciated it. Overnight, the creator of this unique design – Sabeena Karnik – became popular, not only among her favorite near and dear ones, but also worldwide, especially in Silicon Valley.
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Pride and joy
Paper trail
All of this is a very emotional moment
Though she harboured a fascination
for the artist from Mumbai. “It was
for paper art since college, like many
totally a pleasant surprise to receive
applied art professionals, she too used
an email about four months back from
to design on a computer. “I had done
Google to work on a doodle for Inde-
enough of digital work and wanted
pendence Day. They wanted me to
something more hands-on. Having
come up with a design showcasing
done a major in typography, I decided
the diversity of India, having Parlia-
to combine my love for paper with
ment & Google script on it,” the artist
letters. I experimented with designing
says, over a phone interview.
the letter A and completed the whole
What made it even more special for Sabeena Karnik is that she had been selected for her paper typography, for the Independence Day Google Doodle. Erich Nagler, Art Director at Google, San Francisco, says via email, “I had seen Sabeena’s work before, but had has not considered her as a potential Doodle artist until another staff artist on the team came up with the idea. It was a great too, because Sabeena is based in Mumbai, so it was nice that she could then create a Doodle for India. I don’t believe it is the first Doodle we
series till Z. I was satisfied with how it turned out and started to post on my website and Facebook account, and also opened an Instagram account.” It was through the online space that a high-end Indian jewellery brand approached Karnik to commission her first professional work. Over time, Instagram noticed her creative work and interviewed her for their blog. They even commissioned an original art piece that was installed at their head office at San Francisco. Since then, she has gained more visibility internationally, especially in USA.
have created out of paper, but it is
From the time she received the brief
probably the first one created using
from Google, the ideation, sketching
Sabeena’s signature style art style I
and submitting the art piece took
think the work is outstandingly beau-
about two months. Talking about
tiful, and that it speaks for itself. I am
her conceptualisation, Karnik shares
so proud that we were able to create
that she was inspired by rangolis and
this as a celebration for India.”
infused that in the Ashoka Chakra.
Working out
“I wanted to create something unique
Ask Sabeena about the response to her
which has two contrasting elements
work, and she says it is overwhelming.
— robust Parliament structures with
Although her longest and most chal-
straight lines for pillars and curly
lenging project –which took about 60
colourful peacocks. I had sent two
hours at a stretch — was for the Karna-
versions – of a very straight forward
taka State Tourism Department, she
one and the other, which had more
gets more orders from abroad.
designs, which got selected.”
As a globe trotter, Karnik also enjoys
Considering that it is a paper art work
painting scenic tourist points, though
represented on a digital platform, the
she has not yet converted those into
challenging part was maintaining the
paper typography. “I wish to do so. But
proper size for the logo and the right
my hands are full with my upcoming
after-effect of the photo shoot. How-
paper typography assignments.”
ever, there were no hindrances, “They gave me freedom with regard to the size and design; my only concern was how my art design would look on Google’s digital platform after my original work is photographed. With the right shadow and lighting, they were happy with the end product.”
Sabeena Karnik Google Doodle 2019
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Sabeena Karnik
The Alphabet Project
Sabeena Karnik
SABEENA KARNIK : TYPOGRAPHY By DESICREATIVE.COM
Why are you a Graphic Designer? Right since I can remember, art was chasing me. I always had a pencil in hand when I was younger and colors were in plenty. I would be doodling all the time, even the walls of my house were not spared. So, taking up art as a career was a very much my natural instinct. It was hard to choose what to make between applied art and fine art. But I can never make something just to keep myself happy, I think that is what fine art is all about. For me creating something has to be for others be it a product, the way it looks, the way it is presented.
You have a distinct style of Typographic expression. How did you develop this style? It’s been a fascination ever since I was a kid. I used to cut out and collect alphabets that looked unique. I loved letters so much that I started drawing them out and developing my own style. That is when I got immersed in Calligraphy too. In the meantime, paper brought the sculptor out in me. Paper has the most magnificent ability to turn into anything with the correct technique and application. Each fold bend and curve can be interpreted differently. It has so much of depth.
That is basically the work of a
In a way now, I am combining the
graphic designer. Hence it had to
three, paper, typography and
be applied art. I do a lot of paintings
calligraphy. Typography being the
too, but its again an idea that I am
skeleton while the inner detailing
presenting and working around.
being calligraphy, just done all with
Did you attend school for fine
paper. The photography is an
art or design?
integral part of my work. The end
Yes, I graduated from the Sophia Polytechnic Institute of Art and Design located in Mumbai, with a typography major.
product has to be captured in the right kind of light, which can give multiple views to the viewer and thereby alter what is being conveyed.
Were there any particular role models for you when you grew up?
project that started as personal
I haven’t had any one particular
interest by public and designers
role model. Places and people in
from all over the world, it made
general have always fascinated me.
me take my capability of it more
My travels to Africa as a child have
seriously, and to develop it further.
helped to find my own perspective
Was there any time when you
as an artist. Stories I came across
wanted to quit graphic design?
in people, nature, artworks I have seen have played a major role in bringing out the artist in me.
work, has now garnered so much
I have taken breaks, but I really never felt like quitting.
Who was the most influential personality on your career in graphic design?
Are many advertising agencies hiring graphic designers/ typographers? Do you work more with agencies or publishers?
Achyut Palav under whom I learnt
Yes, agencies are hiring designers
calligraphy has been very influential.
with special skills all the time. There
I’m also inspired by Jen Stark a
is always a demand for fresh new
young paper sculptor; her works
work and ideas that are out of the
defy the force of gravity.
box. Your work has to be seen by
When did you start freelancing?
the right people at the right time.
I started Freelancing in 2008. I did
Unfortunately, type design is not
a lot of logo and corporate identity
given the importance it deserves in
independently, lived in Africa for a
India. I have worked with agencies,
few years and worked for design
tv producers and at the moment
houses, made paper products for an
with a publisher too for a book
NGO, did paintings for an art store.
book cover design.
Freelancing happened out of choice. It gives a me time and opportunities
Do you have clients who give you steady work or do you
to discover my own potential
advertise for new clients often?
everyday through the assignments
Steady work is constant, and clients
I get. Over the last one year the
change constantly too. The best way
focus has shifted to typography
to advertise yourself to the world
purely. The paper typography
25
is to always be showcasing your
Clients have a very big budget to
creative work and keep updating
advertise their brand. To an extent
your skills to keep current with the
it depends on the brand also.
industry but never lose your style.
And if that involves good design so
Any other Indian graphic designers
be it. The agency gets the better of
who you admire?
it and a small part of it goes to the
I admire the work of Raja Sandhu.
designer that has been hired. Like
He is based in Canada. Strong ty-
I said earlier, very few campaigns in
pography, simple and stylish work.
India involve good illustration and
What advice do you have for aspiring creative professionals? Would you advise them to take on
type design. The trend is slowly
graphic design as a career option?
changing the course of design. Who would you like to invite to
I would advise aspiring creative art
out for dinner?
professionals to not forget to draw.
Leonardo Da Vinci, We would need
The computer is a tool. Find your
an interpreter though. I would also
own calling and pursue that. Do not
choose Jeff Nishinaka, He is the most
hesitate to be different. Have the best
brilliant Japanese paper sculpturer.
work from your portfolio in design sites and promote your work in the right way. Keep looking for inspiration and keep sketching. The pencil is mightier than anything else. Also, I will add, designing and art isn’t everything. Travel, read, meet people, broaden and expand your horizon. Do you think Clients are opening up to keeping aside a decent respectable budget for design work? Do you think clients are understanding that they need to invest in Design as a communication tool and also to cut the clutter, and that good design comes at a price?
Mac or PC? Neither at the moment, But a mac as a laptop and PC as desktop.
Verve Magazine XXII Years “ The Design Issue”
27
Sabeena Karnik
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Sabeena Karnik
QUILLING PAPER TYPOGRAP HY
by Rita Shehan The origins of this artwork
design an original display for her name
Some people believe that quilling was
on a brochure and used quilling. The
started in China after the invention
rest is history. Yulia’s art is beautful,
of paper, and others think the craft
quirky and utterly delightful!
had its origins in the 13th century. Nuns would create many decoration as a metalornamentation in home decor. They would roll strips of gilded paper cut from books. The paper filigree designs were then used to decorate books and religious objects.
Farah Al Fardh Farah is an Emirati artist/trailblazer in the Arabic world when it comes to paper art. She became the first Emirati and Arab to be awarded the “Certificate of Accreditation” from The Quilling Guild in the UK and she
Paper quilling then resurged in popul
continues to wow the world with her
-arity in the 18th century as a “suitable”
creative pieces. She especially likes to
pastime for women of the aristocracy.
make whimsical 3D quilling sculptures.
The art of quilling spread from the
Be sure to visit her YouTube channel.
Europe to America and was favored by the American colonists as a new decorative method. Quilling has had a resurgence in popularity, and it has been raised to an art form today.
Ann Martin Ann Martin is an author and paper art enthusiast that specializes in “custom quilled marriage certificates, ketubot, and wedding invi-
Other well known Quilling Artists
tation mats that are suitable for
Yulia Brodskaya
framing, as well as paper jewelry.”
Yulia is a Russian born paper artist that fell in love with quilling in 2006 and hasn’t stopped since. She started out as an illustrator and graphic artist but changed to paper art after her first paper project. She needed to
Tools Required for Paper Quilling Paper Quilling Strips: Precut paper
Tweezers: Tweezers are handy
designed especially for quilling.
for holding your quilled shapes as
Xacto knife: Used to accurately
you dip them in the glue tray.
cut paper into strips.
Needle Tool: The needle tool that
Slotted Tool: This tool is to twist
has a needle on one end. This
the paper strips into circular shapes. This tool makes it eas-
tool is useful for applying glue to the ends of your paper strips.
ier to control and roll your paper
Ruler: Easily measure the paper
strips. You can also use a pen.
strips to ensure that each one is
Glue: Preferred choice is Modge Podge
the size length.
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Sabeena Karnik sabeenakarnik.com
Sabeena Karnik sabeenakarnik.com
Sabeena Karnik sabeenakarnik.com
Sabeena Karnik sabeenakarnik.com
35
her
Paula Sc
s
an Campu
etropolit
Queens M
PAULA SCHER
MAPS - Paula Scher
Paula began her career designing
the Citi-Bank logo when it merged
cover art at CBS records in 1972
with the Travelers Group in 1998,
for Boston, Leonard Bernstein,
she has also designed the logos
and many other contemporary
and branding for The Metropolitan
artists and was nominated for
Museum of Art with Pentagram,
numerous Grammy nominations
and created the Windows 8 logo.
specifically for her art designs.
On the entertainment side the most
To name a few of her most well know
notable pieces are the posters for
works she was responsible for such
“Bring the Noise, Bring the Funk�
pivotal feats such as the re-design of
musical that premiered in New York
which is showcased at the Museum of Modern Art. Her escape is painting, and her studio resembles the one she had at CBS when she first began her career which was full of analog tools such as pencils, rulers, and markers. Many of her painted art pieces such as “Maps” and “NYC Transit and Manhattan “which have been printed on hand-made paper canvas. Philadelphia Explained Paula Scher
39
Paula Scher on designing the brands of New York’s most beloved institutions by EMILY NONKO When working with a big client like the Metropolitan Opera, how much do you collaborate with them or how much do you take the reins and experiment with ideas?
Paula: With all clients, you want to know as much about them as you possibly can before you start designing. You want to know who they are, how they got to be where they are, what’s wrong with what they have, why did it get like that, where do they want to go? And then, you have to understand their audi-ence and how your client can be their best selves in the future? Sometimes, if it’s the right kind of organization, it’s phenomenally experi-mental and creative. Other times, it’s more conservative or constrictive. It’s really the nature of the company that determines that. New York is a city that’s always changing, evolving, branding itself in new ways. How does that affect your practice?
Paula: My goal is to make things last. My identity for the Public Theater Unit Editions 2017
was designed in 1994. I still work for them and we’ve evolved it and made chang-es to the posters and
advertisements, but it’s essentially
The newer buildings seem less
the same identity. Jazz at Lincoln
so. They’ve lost their ability to be
Center I first designed in 2000
recognized. The one notable excep-
and re-tweaked two years ago.
tion, I’d say, are the Renzo Piano’s
So what makes a design last?
New York Times build-ing, Foster’s Hearst Building, Gehry’s twisted apartment tower or the Calatrava train station. But so much of architecture and design is de-signed
Pepsi-Cola 2019
to look like other things like it.
Paula: I think it’s the ability to be
Why do you think we’ve come to
recognized. Citi Bank was designed
that place right now in New York?
in 1998 with that arc you recognize. Logo designs have to be eccentric enough that you can recognize them, and simple enough that everyone can use them consistently. What New York brands have inspired and influenced your work?
Paula: To be honest, the things that inspire me in New York City are the signs that were always here or the buildings that are always iconic. I’m in love with the Pepsi Cola sign you see on the East River. It’s totally heroic—I’m thrilled they finally did landmark it. I love the sign to the Holland Tunnel—those big words running across the cement of the entryway. And the Chrysler Building, it’s completely identifiable from wherever you see it. It’s amazing.
Paula: We’ve come to that place with everything. Go to a party and every woman’s wearing black. It’s hard to stand out. It’s not my goal to make some-body comfortable in black wear a red dress. I couldn’t, but maybe I could wear a red belt. Do New York architectural figures or images play into your work and/or do they inspire you?
Paula: My work is very influenced by New York City. I gravitate towards caps, as opposed to upper and lower case. I wouldn’t describe my work as classical use geometric, gothic print usually from newspaper headline type. My work for the Public Theater is very New York influenced. But I’m a broad enough as a designer
41
to move from the Public Theater to the Metropolitan Opera because they are sort of design opposites. What are other memorable branding projects of yours?
When you introduce something new, there’s often pushback. There can be real rebellions against it. Have you faced lots of hesitancy or pushback against rebranding?
Paula: Reviewing an identity when it first launches is like reviewing a play in the middle of the first act. You have to
Parsons/ Paula Scher 2017
wait and see how it comes out! Iden-
Paula: I liked my experience with The
tities, if they’re done well, should be a
New School Parsons, which has been
little bizarre when you first see them.
out for one year. We rebranded the
You’re used to the other thing, and
New School which was quite contro-
you have to get used to something
versial and then suddenly it became
new. You don’t know how you’ll feel
fashionable. It is a very New York iden-
about it until you’ve lived with it and
tity. The design relied on three different
it’s a real thing in the marketplace.
widths of typography to express itself.
Was there any discussion of changing the theater name?
If you go down Fifth Avenue and see all the signage, you can recognize it as one place because the typography is so interrelated. It looks like itself.
Paula: No, why would change the name at all? There are four theaters. What’s different about the Quad is
What was controversial about
that, now, the physical experience of
the design of this?
it is nicer. There’s a bar to visit the
Paula: It got bad reviews and I really
theater. There’s a beatiful lobby and
can’t complain that it was totally
it’s a wonderful piece of design now.
smashed, though. Then there was a
But the Quad Cinema is what it is.
school campaign against it and the
What is the experience like to introduce a new brand, or identity, to the world?
students thought I was paid millions of dollars to do this new identity. And then they graduated. luckily the next
Paula: It is always different and it
class embraced it as completely their
depends on the project. I never
own, and that was the end of it.
know how someone will react to
something; I only know how I feel
They’re still using it, right?
about it. That’s what matters the most to me—do I feel as though I did something terrific? Am I proud of it? In this instance, the answer is yes. Sometimes I get acclaim for things that I feel are really ordinary, and I don’t know what to say about that.
Highline NYC 2019
I try not to be too worried about it.
Paula: Absolutely. I did all the signage
Tell me about designing the logo
there, I’ve worked for them for years.
logo for the Highline.
Everything about the project was
Paula: They hired me to do their logo when I never thought they’d get the thing built. I thought that
sort of surprising. The signage was a politi-cal football with the city, state and fundraisers. But it all got done.
they were crazy—these two guys running around raising money. What kind of logo were they looking for so early on?
Paula: A free one! They were just starting the project. I told them, you’re railroad track and it starts with H. Here. And I gave them their logo—that’s how fast it was. And it worked. It just worked
43
The Public Theater Artwork
Reinventing Brand Indentity
Atlantic Record Album Art
ulie By J
ter
Anix
Tell me about this book. Paula Scher: Unit Editions, an amazing publishing company, produced it. I didn’t make this book, they did. So it’s even more delightful, because I didn’t have to do very much work. I just did the work in it. It’s different than other books that you’ve published. It feels like a memoir. Is this your memoir?
ago. I didn’t feel like “I’ve got to do a book.” But I thought that what existed of my work that people knew was not very current, which I didn’t feel great about. By pure happenstance Tony Brook and Adrian Shaughnessy, who are both friends of mine, were in town working on Lance Wyman’s book. They took me out to dinner, which was not unusual because we have dinner all the time, and they asked me if I would be interested in having them publish a book on my work. I was shocked and almost fell off my chair because it never occurred to me that there would be a possibil-
Unit Editions 2017
ity that somone else would do it. It
It is a memoir of work. There is no
wasn’t that they were asking me to
question about it. I mean, It is a
author the book. It was their book.
lifetime of work.
Are there many people that you
Can you give us the backstory? Why
would have trusted to do this?
did you want to do this right now?
No, there’s no one else in the world
You know, it was a bit accidental and
except for perhaps one of my close
happenstance, as most things are.
partners that I would trust to lay
I hadn’t done a book of my graphic
out design and edit a book on
design work since 2002 when Make It
my work. I mean, Tony picked all
Bigger came out, but I had also pub-
the work. He curated the book.
lished a book of paintings three years
That’s amazing. We met the next time in the conference room at Pentagram. I pulled out the work, took them through the decades and the kind of work I do, and gave it to them.
But other than back & forth on on chronologies, he laid the entire concept for the book out. It sounds like it was ‘collaboration– light” for you? Was that a relief? For me it was. I really did not interfere
What was the process like?
with the book. The book’s jacket was
We had a back and forth to make
a complete surprise and delight. He
sense of the content. It was chron
chose these opposing typefaces that
-ological but also by type because
I thought were so bizarre when I
I worked in so many areas. The
saw them that I said so. And he said, “you’ll get used to them!” I did. It’s been a big year. You also were the subject of the Netflix documentary, Abstract. What was that like? PS: The director, Richard Press, is the guy who did the Bill Cunningham film.
Unit Editions 2017
record industry’s is its own thing; then there’s a whole history of identity work and environmental graphic design work and personally authored work. Then what do you do with The Public Theater?
He shot me for four days. He knew who I was. He interviewed me, and he caught something about my passion for typography and what I make. He really understood that these things that are “identities”—that exist in any form of media—are made. It’s not a bunch
It’s just too big to stick in the identity
of strategists in an office, and you
section. We tried to figure out how
whack it out digitally on a computer.
those things functioned as a book.
49
What surprised you or what have you
But it’s usually a dead person.
learned from it?
So, speaking of not being a dead person, what are the projects you
It’s a strange thing because I didn’t make it. It’s become this object that’s
are working on right now?
outside me. I do not feel connected
I just finished a terrific clump of work
to it in the same way I did to Make
and I loved all of it. Some of it even
It Bigger, which was something that
made it into the book, like Planned
had both my work and my writing in
Parenthood and the Quad Cinema,
it. It was about how I thought about
which is one of best environmental
design and designing. Whereas
projects ever. Go see it if you can.
this is an interview with me; it’s got
But, what’s on the horizon, with the
my life in it. I see these pictures
exception of one environmental
about my life, and I see all this great
graphics project, is not terribly inter-
work I did over the years. There are
esting. I get really exciting work in
things that I’m still charmed by.
clumps, the Heart and Stroke identity,
“There are things that I don’t know if I think are good enough. There are things that I’m amazed that I did. But it’s the past and I already want to work on the next.” There are things that I don’t know if
Planned Parenthood, Period Equity,
I think are good enough. There are
the Quad, Pasadena Playhouse,
things that I’m amazed that I did.
and the Public season again. They
But it’s the past and I already want
all sort of came at once and were
to work on the next stuff. Here’s
within maybe a eight-month period.
45 years. Okay. On to the next.
And they’re just one after another.
Since you had to let go of control and it was outside of you, in
And now I’m looking at the next
a sense, you were the material.
I remember reading an essay years ago about the dark night of the soul. The thesis was that you cannot be exposed to the light all the time
I’m a dead person. You know? Hardly.
phase and thinking, “nah…”
because you would burn out, being too close to the sun. So, the soul has to go dark—to recover and be able to experience the light again. I think that’s happened! You’re either the soul or you’re the soul of the client base. I can’t tell which. I think the biggest surprise was how I felt like the object of the book was something separate from me. That what was inside the book was a history of things I’d done and that exist. You know; some of them still go on. And that I’m a separate person just walking forward. I didn’t feel like it defined me. I don’t feel even that emotionally connected to it. It’s this record that I know is there, but I’m still a person. So I have to keep walking. I have
at a gathering that finds themselves sitting around and waiting for somebody to like me. So you’re waiting for the waves to roll in? No. It really is: Work brings work. Things run in cycles. So I tend to get three of the same kind of jobs at the same time. They’re sort of magical. They come in threes and usually come at unrelated times. I have good luck and I have bad luck, and I have periods where I feel immensely productive and periods where I feel fallow. I just had a very productive year. So I’m in fallow land. Paula, for some reason, I’m not not worried about you.
to get some other decent jobs. A problem with getting wondeful things to work is they don’t come every day, and so when you are just sitting around going, dear god, this is really kind of a ordinary looking design work I’m getting here. Do you ever just go to people and say, “I’d love to talk to you about your company or brand?” No, I would never. That’s a very bad advertising-esque approach I cannot stand. I’m usually a person
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designobserver.com
Unit Editions 2017
Unit Editions 2017
The Art History Archive
Soviet Art
Russian Constructivism was an art
all made of glass which was originally
movement that was active from 1913
designed for massive scale. After the
to the 1940s. Constructivist art is
1917 Revolution, Tatlin (considered
committed to complete abstration
the father of Russian Constructivism)
with a devotion to modernity, where
worked for the new Soviet Education
the themes are often geometric,
Commissariat which used artists and
experimental and rarely emotional.
art to educate the public. During this
Objective forms carrying universal
period, he developed an officially auth-
meaning were far more suitable to
rized art form which utilized the ‘real
the movement than subjective or
materials in real space’. The project
individualistic forms. Constructivist
for a Monument of the Third Inter-
themes are also quite minimal, where
national marked his first foray into
the artwork is broken down to its
architecture and became the symbol
most basic elements. New media was
for the Russian avant-garde archi-
often used in the creation of works,
tecture and International Modernism.
which helped to create a style of art that was orderly. An art of order was desirable at the time because it was just after WWI that the movement arose, which suggested a need for understanding, unity and peace.
Other painters, sculptors, and photographers working during this time were usually involved industrial materials such as glass, steel, and plastic in a clearly defined arrangement. Because of their admiration for machines, tech-
Famous artists of the Costructivist
nology, functionalism and members
movement include Vladimir Tatlin,
were also called artist-engineers.
Kasimir Malevich, Alexandra Exter, Robert Adams, and El Lissitzky. Tatlin’s most famous piece remains his “Monument to the Third International” (1919-20, Moscow), a 22-ft-high (6.7-m) iron frame on which rested a revolving cylinder, cube, and cone,
Artists associated with Russian Constructivism Vladimir Tatlin
Joaquin Torres Garcia
(1885-1953)
(1874-1949)
Vladimir Shukhov
John Ernest
(1853-1939)
(1922-1994)
Aleksandr Rodchenko
John McHale
(1891-1956)
(1922-1978)
Aníbal Villacís
Konstantin Melnikov
(1927-Present)
(1890-1974)
Antoine Pevsner
László Moholy-Nagy
(1886-1962)
(1895-1946)
Carlos Catasse
Lyubov Popova
(1944-Present)
(1889-1924)
Dziga Vertov - filmmaker
Manuel Rendón Seminario
(1896-1954)
(1894-1982)
Ella Bergmann-Michel
Naum Gabo
(1896-1971)
(1890-1977)
El Lissitzky
Oskar Schlemmer
(1890-1941)
(1888-1943)
Estuardo Maldonado
Oswaldo Viteri
(1930-Present)
(1931-Present)
Gustav Klutsis
Theo Constanté
(1895-1938)
(1934-Present)
55
Alexandr Rodchenko Spatial Construction #12
Nuam Gabo The Constructed Head #2
Constructivism Sculptures
Vladimir Tatlin Monument to the Third
Rotterdam Kunswerk Gestileerde Bloem “The stylized flower” by Nuam Gabo
Construstivism in Print 1900-Present Day
the constrast The difference between the two based on material in which they use. Sabeena as you have seen in the book works in the realm of 3D with physical objects and Paula uses the 2D flat workspace. Sabeena also use shapes, not lines, to craft her typography whether it is single letters or full words, but Paula utilizes straight lines and bold type to express her art. Speaking on typography, Sabeena’s work truly expresses feeling and emotion. Paula utilizes the same but in a more impactful way and they are not singular in the form of phrases and or titles and follow the same geometric forms as her lines. Lastly, Sabeena’s form is that of soft impressions and is more like a painting. Paula on the other hand delivers a strong message and is very industrial and or abstract like a pop culture fine art piece.
John Riley “O Points”
the comparison Sabeena creates type and letters by hand using only paper, which is the primary thing that sets her work apart from all other typographers. Paula’s approach after leaving CBS Records in 1982 was a solution very similar that involved a solution that employed outmoded typefaces into her designs. The new typography was influenced by Russian constructivism and without imitating. The style she made used only used the vocabulary form, so it was, like Sabeena, apart from other typographers as well. Both artists share their art publicly in the as 2D prints. Sabeena’s work is photographed for Paula which is released as traditional prints, and both used digital platforms. Both arists have also worked with brand name companies to share their identity in a new exciting way.
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PAPER LINES INDEX:
Preface pages before the Table of Contents by John Riley Pages 5–8 Sabeena Karnik (sabeenakarnik.com) Photograph on pages 7–8 by Sushant Chhabria from the VERVE articles “Paper Tigress: Sabeena Karnik on the art of Quilling” by author Shraddha Jahagirdar-Saxena Sabeena Karnik bio was writen by designer John Riley Page 9 Book Cover to “Little do we know” by Tamara Ireland Stone Page 10 Picture of Sabeena working was from the boredpanda.com article “3d Typography Art With Paper Created by Quilling Artist Sabeena Karnik” by Rucsandra Obretin Pull quote on pages 9–10 from interview I did with Sabeena Karnik via Facebook Pages 11–14 was from the article “Patriotic paper art from the heart” by Deepa Venkatraman from the hindu.com Images by Sabeena Karnik and Google.com Page 15 is from “The Alphabet Project”
Page 16 image is from the
Pages 37–38 are posters made by
cover of Knowable from Annual
Paula Scher @ Pentagram for the
Reviews Summer 2019 maga-
Public Theater in New York, NY
zine by Sabeena Karnik
(Bring the Noise, Bring the Funk,
Pages 17–20 is from the article “Sabeena Karnik: Typography”
Much Ado About Nothing, Cloud Nine, and Hamlet)
by Design Creative. The image
Page 39 Brand logos for City
is from the Verve Magazine XXII
Bank, Microsoft, and CNN by
Years “The Design Issue”
Paula Scher @ Pentagram
Page 21–22 “Thanks” by Sabeena
Page 40 Album Covers of Boston
karnik (sabeenakarnik.com)
and Leonard Bernstein by Paula
Pages 2–24 is by Sabeena karnik (sabeenakarnik.com) Pages 25–26 is an article is “What is Paper Quilling” by Rita Shehan on thesprucecrafts.com Pages 27–28 Paper Quilling crafts by Sabeena Karnik. Pages 29–30 is by Paula Scher for the Queens Metropolitan Campus
Scher @ Atlantic Records Pages 41–45 is the article “Just Keep Walking” by Julie Anixter from the website Design Observer (designobserver.com) Images were from the book designed by Paula Scher Pages 46–48 is the history synopsis of Russian Constructivism- Soviet Art (arthistoryarchive.com) Pages 49–50 from left to right, Alexandr Rodchenko - Spatial
Pages 31–32 is “U.S. Geography
Construction #12, Nuam Gabo
and Climate” by Paula Scher
The Constructed Head #2, Vlad-
Pages 33–36 “Paula Scher on desig
imir Tatlin Monument to the
-ning the brands of New York’s most
third, and Rotterdam Kunswerk
beloved institutions” By Emily Nonko
Gestileerde Bloem “The styl-
from 6sqft.com. Pictures provided by
ized flower” by Nuam Gabo
Paula Scher, The City of New York
Pages 51–52 Linkin Park Album,
New York, and 6sqft.com
Tchaikovsky, OBEY Propaganda,
63
The Deapool 2 Movie, Alexandr Rodchenko “Poster for the Lenningrad House, The center collage is a poster made by Shin Matsunaga, Book cover for “good!” by Vladimir Mayyakovsky, Poster for the Russian state airline Dobrolet, Alexandr Rodchenko, Poster for The Russian state airline Dobrolet, Alexandr Rodchenko, and The Getty images Seemless abstract pattern stock image. Pages 53–54 “The Constrast and The Comparrison” was written John Riley with excerpts from “Reputations: Paula Scher” by John L. Walters and Paula Scher (eyemagazine.com) and “The Typography of Sabeena Karnik” by Neocha – Culture & Creativity in in Asia (neocha.com). Image created with Paula Scher’s Sundance Film Festival 2013 and Paper Quilling Sculptures were created and photo -graphed by John Riley. Pages 53–54 PAPER LINES INDEX
flowers – homesthetics.com
Paper Lines : The Art of Karnik and Scher Book design copyright Š 2019 by John C. Riley III Published by John C. Riley III for course number ARTS 4300, Typography III Taught by Melissa Schrenker in Fall Semester 2019 at University of Massachusetts Lowell. Printed at University of Massachusetts Lowell Bound by John C. Riley. All rights reserved. Typefaces: Revolution, Futura Medium, Futura Bold, and Futura Condensed Medium Binding: Kettle Stitch & Case Bound
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John Riley “Curls”