2014 Journal of Graphic Design

Page 1

Stefan Sameister S

tefan Sagmeister was born in Bregenz, Austria in 1962 and is 52 years old now. He graduated with an M.F.A. from the University of Applied Arts in Vienna in 1985. He then moved to Hong Kong in 1991 in order to work with Leo Burnett’s Hong Kong Design Group. He returned to New York in 1993 to work for Tibor Kalman’s M&Co design company. The Reasons why I chose Stefan Sagmeister as one of designers for this assignment was because his materials selected for his artwork are unique, because his photos combined with deferent typefaces are humorous, and because most his artwork look clean and seems to be created with well thought ideas. Sagmeister is known for music packaging art such as for David Byrne CD covers, and he succeeded to get Grammys. In 2009, he also got a Lucky Strike Designer Award. “Things i have learned in my life so farâ€? (2008) and “Sagmeister, Made You Lookâ€? (2001) are also famous. 6WHIDQ 6DJPHLVWHU¡V VSHFLDOW\ LV KLV DUWZRUN LQ JUDSKLF GHVLJQ ORRNV OLNH D Ă€QH DUW XVLQJ KLV SKRto-based works and typographies. This is because he believes graphic design can be as powerful as a painting. His design process while working on some projects is widely and freely thinking about ideas, concentrating on just one project with no interruption, and using different types of

2

Captions Left - “Obsessions make my life worse and my work better.� ART DIRECTION : Stefan Sagmeister Upper right - Limited Edition Film Packaging CREATIVE DIRECTOR : Stefan Sagmeister Down- left - “Take it On� ART DIRECTOR: Stefan Sagmeister, Jessica Walsh

Reference SAGMEISTER, STEFAN. “Stefan Sagmeister.� AIGA. N.p., n.d. Web. 17 Mar. 2014.

“Design has to work, Art does not.“

“Thinking that life will be better in the future is stupid.”

“Complaining is silly. Either act or forget.”

technics and tools. In one of his designs for Arizone FW11 Campaign 2011, he showed a photo of a naked woman, who was painted texts with black color on her body with white color. This idea seems to come up from his own design process.

er need a break period to think about himself and his work. He explained about the distinction between art and design; design has to work for something functionally such as a watch design, which should be considered it’s function for users, but art does not. I totally agreed with him when hearing his thought because I have not been clearly able to explain the distinction of these two. He was currently working on a design project, which is huge and compared the process of the project with a design project for a small object. He said he likes to work on designing for a

small items such as a design of a cover design for a CD because he can spend much times on changing details in less time than designing for a big object. I do agree with him and like to work for a small item, too.

In the Design matters offered by Debbie Millman in the podcast, Stefan Sagmeister said he spent entire year off to think about what he is going to do for the next step. This was interesting to me because sometimes a professional graphic design-

Sagmeister and his works spoke to me while seeing because he selected unique materials for his artwork, because his artwork designed in his photos combined with deferent typefaces look humorous, and because his ideas seems to be clean but be well thought.

3

Dawn Hancock & Firebelly Design By Tori Jack early, but also sharing ideas around her RIĂ€ FH HYHQ LI VRPH RI WKHP DUHQ¡W ZRUNLQJ with her on the project. This is because she thinks the best ideas come from converVDWLRQV DQG EHLQJ RSHQ WR RWKHU SHRSOH¡V perspectives. Dawn and her team at Firebelly have done a variety of different projects together. One example being design work for a bike share program in Chicago, called Divvy. Firebelly Design Logo

Dawn Hancock is well known for running a design company called Firebelly Design, which has the motto to make Good Design for Good Reason. The company is full of skilled typographers, writers, photographers and makers, all of which have about 75 years of professional experience combined between them all. The company has been open since 1999, and have produced work that they believe in and their clients FDQ WUXVW 'DZQ +DQFRFN GRHVQ¡W UHDOO\ VHW herself apart from Firebelly, as it is her main focal point and what she considers her center of gravity. She built the company up all on her own, where she has the help of her “fearlessâ€? team and a lot of support from her neighbors. The Firebelly Foundation, which VWDUWHG LQ LV D QRQ SURĂ€ W RUJDQL]DWLRQ that Dawn decided to start, and eventually grew into a socially minded enterprise. It includes several programs that all show her passion and ethic. She also runs a 10-day summer camp, Camp Firebelly, to work with young designers. Dawn Hancock is all about collaboration. She likes getting her clients involved

“Building a studio around a collaborative process, forces me to keep myself in check and in-turn has proven, in my experience, to create the best work.â€? They decided to focus on the practical and utilitarian aspects of riding a bicycle, to make their bike share a smart, active, and logical way to get around the big city. They also added in some playfulness to their design to ease the fear for some people of biking in a big city and even chose to honRU &KLFDJR¡V RZQ FLW\ SULGH VKRZLQJ PDQ\ WUDLWV RI WKHLU FLW\¡V FLWL]HQV ZLWK WKH XVH RI colors and the symbolic Chicago star. She is a member of the AIGA in Chicago, who every year produces a book that they give out at their Annual Members Meeting. Dawn and her Firebelly team

Divvy Bike Share Logo

6

Big Chick’s Website

worked together to design the book for the 2010 – 2011 meeting. For this project, they XVHG VSRW VDQG WUDSSLQJ VSRW Ă RUHVFHQW and a wraparound cover band. The theme of the book was boundaries and how they form creative space, and also environmental graphics at the Park West on the night of their meeting. $QRWKHU H[DPSOH RI WKLV WHDP¡V ZRUN would be the website for the Big Chicks bar and the restaurant next door, called Tweet. The owner of both, named Michelle Fire, has made Big Chicks bar to be a place that is considered to be one of a kind. It had been one of the go to places in the city for over 30 years. Because of this success, she decided to open a restaurant next door, which she called Tweet. Dawn Hancock had been a fan of her business ever since she moved to the area, and even offered to design their website for free when she was just starting out in the design world and Firebelly was able to go through with the work 15 years later.

“I’m all about collaboration. From getting the client involved early and all throughout, to sharing ideas around the office regardless of who’s “working� on the project. I feel like the best ideas come from conversations, files exchanges and being open to other people’s perspectives.�

Shannon Medic, Executive Director

Dawn Hancock, Founder

Nate Beaty, Web Developer

Amelia Vanderbilt, Office Manager

Nick Adam, Account Manager

Will Miller, Creative Director

“For other people out in the world doing good, adding a designer to your team can help you do even more good, in a beautiful way.� References

´)LUHEHOO\ 'HVLJQ Âľ $ERXW 1 S Q G :HE 0DU KWWS Ă€UHEHOO\GHVLJQ com/people>. )LUHEHOO\ 'HVLJQ 1 S Q G :HE ZZZ Ă€UHEHOO\GHVLJQ FRP!

7

Peter M e n d e ls u n d: Don’t Judge a Book by Its Cover ›ǣ ƒŽ‡› ŠƒÂ?„‡”•

If  you  had  asked  Peter  Mendelsund  what  his  passion  was  in  his  formative  years,  then  he  would  have  told  you  that  he  lived  and  breathed  classical  piano.   As  a  thirty-­â€?year-­â€?old  musician  and  father  to  a  newborn  daughter,  however,  he  realized  Â–Šƒ– Š‡ Â?‡‡†‡† –‘ ’—”•—‡ †‹ƥ‡”‡Â?– ƒ˜‡-­â€? nues  of  income.  After  teaching  himself  design  software  and  fooling  around  with  Â…‘˜‡” ÂƒÂ”Â–ÇĄ Š‡ •‡– ‘—– –‘ ƤÂ?† ƒ Œ‘„ ‹Â? one  of  his  other  areas  of  interest,  reading  and  making  things.1  Â

Â? Š‹• Ƥ”•– ‹Â?–‡”˜‹‡™ ™‹–Š Š‹’ ‹††ǥ –Š‡ design  guru  responsible  for  the  publica-­â€? –‹‘Â?• ‘ˆ –Š‡ ’”‡•–‹‰‹‘—• Â?‘’ˆ ’—„Ž‹•Š-­â€? ‹Â?‰ ‰”‘—’ǥ ‡Â?†‡Ž•—Â?† Â?ƒ‹Ž‡† –Š‡ Œ‘„ and  believes  it  was  his  eye  for  color  and  space  and  his  high  degree  of  literacy  that  sealed  the  deal.  Peter  Mendelsund  had  ÂŽÂƒÂ?†‡† Š‹• Ƥ”•– ’ƒ›‹Â?‰ Œ‘„ ĥ ƒ †‡•‹‰Â?‡”Ǥ Now  Mendelsund  holds  positions  such  as  the  Associate  Art  Director  of  Alfred Â

Incognito, Â Eagleman 4

Â?‘’ˆ ‘‘Â?•ǥ ”– ‹”‡…–‘” ‘ˆ ƒÂ?–Š‡‘Â? ‘‘Â?•ǥ ƒÂ?† –Š‡ ”– ‹”‡…–‘” ‘ˆ ‡”–‹…ƒŽ Press.2  He  thanks  the  people  who  had  faith  in  him  saying,  â€œI  count  my  lucky  stars  that  John  and  Carol  were  up  for  a  Â‰ÂƒÂ?„Ž‡Ǥdz ‡ •’‡…‹ƒŽ‹œ‡• ‹Â? „‘‘Â? Œƒ…Â?‡– design  and  creates  playful  and  intriguing  compositions  of  text of  imagery.   His  personal  taste  is  to  create  illustrations  and  abstract  imagery,  rather  than  photography,  so  that  readers  aren’t  mislead  to  a  direct  visual  representation  and  have  the  ability  to  decide  on  the  details  themselves.3   In  his  blog,  which  is  regularly  updated  with  all  things  de-­â€? sign  and  literature,  Mendelsund  explains  and  updates  current  work,  along  with  his  own  thoughts  riddled  with  humor  and  self-­â€?analysis.4   Truly,  Peter  Mendelsund  is  a  designer  to  watch  throughout  his  ca-­â€? reer  as  it  continues  to  crescendo. Â

“I count my LUCKY STARS that [they] were up for a gamble.�

So  what  is  it  that  makes  an  excellent Â

The  Optimism  Bias,  Sharot

The  Woman  Destroyed,  Beauvoir

“

Long after the reader turns the last page they are still ENGAGING with the book. ǫ Ƥ Ǥ something that pulls you towards it and makes you look inside. Another compo-­‐ nent is ensuring you create something that will stand the test of time. Long after the reader turns the last page they are still engaging with the book every-­‐ ơ Ǥ Every time they catch a glimpse of the cover they should bemoved by a sense of nostalgia towards the book itself. He considers the most important element “evolves with the reading of the text”. There should be a moment when the reader realizes what you were alluding to on the cover.5 Thinking back to doz-­‐ ens of titles I have personally read I can remember multiple ‘a ha!’ moments Ƥ abstract representation on the cover. Ac-­‐ cording to Mendelsund if you can create

something that embodies all of these quali-­‐ ties then you have achieved success. From mastering elaborate Classical music -­‐ et covers Peter Mendelsund has achieved enormous success in the arts. He is bursting Ƥ Ǥ His love of great literature paired with his ƪ in the design world.

”

“...evolves with the reading of the text.”

1. Millman, D. 2011. Peter Mendelsund. Design Matters. [podcast] 09 December. ͚Ǥ Ƭ Ǥ ͚͙͘͜Ǥ Ǥ ȏ Ȑ ͛Ǥ ǡ Ǥ ͚͘​͘͠Ǥ Ǧ Ǧ ǣ Ǥ ȏ Ȑ 4. Mendelsund, P. 2014. Jacket Mechanical, [blog] 5. (Millman, 2011)

Death of the Flowers, Konsuzuki

Ulysses, James Joyce

The Enchanted Wanderer, Leskov 5

Jessica Walsh Jessica Walsh is a multi disciplinary

also and opportunity to more to New York and

listening to her podcast I found it interesting

designer, art director and illustrator who was

intern with the Pentagram, this being modestly

that she said at Rhode Island School of De-

born in New York in 1986 but was raised in

paid compared to apple.

She went with her

sign she worked so much with her hands and

Connecticut (Behance).

She rattled the de-

gut though and took the offer in New York.

was not aloud to go into her major until soph-

sign world when she became the first and

Her work also became prominent while work-

omore year.

only partner in the studio of Stefan Sagmeis-

ing at Print Magazine month (Design Matters

for what she wanted, at the Pentagram there

ter Sagmeister is a world-renowned graphic

with Debbie Millman: 2009-2014). At age 27 she

came a time where she told Paula Scher that

designer,

continues to work with Stefan Sagmeister and

she needed hired or she was going to leave.

own design legacy. He has created catalogs

the studio is called Sagmeister & Walsh.

She

Lastly, I like that she reminded listeners to

for the institution in the past. (Guggenheim

does a wide range of projects, including ex-

make sure everything in your portfolio is rep-

Blogs).

hibitions, branding, book design or design for

resentative or you and what you want to do.

known

in

part

for

Guggenheim’s

How did she become the woman

to achieve such an honor to work with him?

products in general.

She also learned to speak up

One project in particular

At age 11 she began teaching herself

I found interesting was when she and fellow

how to code just by using online websites on

designer Timothy Goodman launched their in-

a trial and error basis.

She liked Neo Pets

timate online project “40 Days of Dating.” The

at the time (a virtual pet) and became ob-

two used an innovative and addictive combi-

sessed with wanting to make her pets page

nation of text, design, and video to tell the

the best.

Soon she began blogging and peo-

story in which they decided to try and build a

ple started asking her to create websites for

romantic relationship with each other. In a mat-

them.

A year into that she started an html

ter of weeks were bombarded with thousands

and css tutorial site that even offer some free

of Tweets and emails, national media cover-

website

very

age, and a movie deal (Guggenheim Blogs).

popular, this being around the time of Google

I chose to research Jessica Walsh be-

ads she started receiving checks for a couple

cause it is empowering to me that a woman so

thousand dollars a month (Design Matters with

young can make such an impact in the design

“the first and only

Debbie Millman: 2009-2014). When it became

world. I also admire how hard she has worked

partner in the

time to graduate high school she wasn’t sure

to get where she is being that she started ex-

whether to move toward the design side or the

perimenting at such a young age.

coding side of making websites.

She chose

in particular made my decision, it was when

to attend the Rhode Island School of Design.

she said, “I am so incredibly lucky to have

After

very

found my passion; it feels like I never Whad to

tough decision to make (The Great Discon-

grow up because I consider so much of what

nect).

I do to be play” (The Great Disconnect). After

templates.

graduating

The

college

site

she

became

faced

a

She was offered a job with apple but

“Borealis Wind Quintet” Iden-

“ S h a r e d Vo i c e s ”

One quote

studio of Stefan Sagmeister “

“NY Times Cover

tity System

Arts & Leisure Section”

8

“I am so incredibly lucky to have found my passion; it feels like I never had to grow up because I consider so much of what I do to be play”

“Minis Campaign” for a high

“EDP Branding, Advertising

end Middle East department

and TVC”

store Aishti Minis

“Everything in your portfolio is representative of you and what you want to do”.

“ S h a r e d Vo i c e s ”

“EDP Branding, Advertising and TVC”

References “Behance.” Behance. N.p., n.d. Web. 16 Mar. 2014 https://www.behance.net/jessicawalsh. “Design Matters with Debbie Millman: 2009-2014.” ITunes. N.p., n.d. Web. 16 Mar. 2014. https://itunes.apple.com/us/ podcast/design-matters-debbiemillman/ id328074695?mt2. “The Great Discontent.” : Jessica Walsh. N.p., n.d. Web. 16 Mar. 2014. http://thegreatdiscontent.com/jessica-walsh. “Guggenheim Blogs.” Guggenheim Blogs. N.p., n.d. Web. 16 Mar. 2014. http://blogs.guggenheim.org/checklist/awesome-twisted-beautiful-qadesignejessica-walsh

“SHOW” tion

a

photo

donWe

illustras-

RISD’s

new

“AIGA

NY

30

Ye a r s ”

versary Poster

Alumni magazine

9

Anni-

Valentine’s Day Illustration

Designer Marian Bantjes

Book -� I Wonder

Marian Bantjes Marian Bantjes is a graphic designer, il-â€? lustrator, and typographer in Vancouver, Canada. She was born in 1963 in Sas-â€? katchewan, Canada. Marian attended an art school in 1982 but dropped out a year later. In 1983, Marian started her ZRUN LQ WKH Ă€HOG RI YLVXDO FRPPXQLFDWLRQ GHVLJQV 6KH FUHDWHG LGHQWLW\ DQG FRP-â€? PXQLFDWLRQ GHVLJQV IRU FRUSRUDWLRQV education institutions, and art organi-â€? zations. In 1984, Marian began work-â€? ing as a book typesetter. In 1994, she RSHQHG KHU RZQ Ă€UP FDOOHG 'LJLWRSROLV LQ 9DQFRXYHU &DQDGD 0DULDQ EHFDPH GLVVDWLVĂ€HG ZLWK WKH ZRUN VKH ZDV GRLQJ EHFDXVH LW ZDV IRU WKH PRQH\ UDWKHU WKDQ IRU ZKDW VKH ORYHG GRLQJ ,Q VKH EHJDQ ZULWLQJ IRU WKH YHU\ Ă€UVW GHVLJQ weblog called, “Speak Up,â€? which gave KHU DOO NLQGV RI UHFRJQLWLRQ ,W DOORZHG KHU WR EH HQJDJHG ZLWKLQ WKH FRPPX-â€? QLW\ E\ GLVFXVVLQJ GHVLJQ ,Q VKH UHOHDVHG 5HVWUDLQW D W\SHIDFH WKDW LQWH-â€? JUDWHV KHU VW\OH RI RUQDPHQWDWLRQ WR EH 10

XVHG DV VKDSHV DQG ERUGHUV ,Q IURP LQGLYLGXDOV WR FRPSDQLHV LQFOXG-â€? Marian wrote her design book “I Wonder.â€? LQJ 6WHIDQ 6DJPHLVWHU 3HQWDJUDP 6DNV )LIWK $YHQXH 7KH 1HZ <RUN 7LPHV DQG 0DULDQ LV ZHOO NQRZQ IRU KHU LOOXVWUD-â€? $,*$ )RU 6DNV )LIWK $YHQXH VKH ZDV tions, typography, and vector art. She KLUHG WR GUDZ WZHQW\ Ă€YH VQRZĂ DNH GH-â€? LV DOVR SURĂ€FLHQW ZLWK RUQDPHQW VW\OHV VLJQV IRU WKHLU &KULVWPDV VHDVRQ LQ 6KH FUHDWHG GHVLJQV IRU FKDLUV DV D IXQG-â€? UDLVHU IRU $,*$ DQG WKDW HŕŠ”RUW LV WXUQLQJ LQWR D VHULHV RI OLNH GHVLJQV 6WHIDQ 6DJ-â€? PHLVWHU KDV DVNHG WR ZRUN ZLWK 0DULDQ PDQ\ WLPHV 7RJHWKHU WKH\ FUHDWHG D VH-â€? ries called Sugar. Sugar includes Marian’s well known intricate designs in an unique PHGLXP 7KH\ ZHUH PDGH ZLWK VXJ-â€? DU 6KH LV RIWHQ KLUHG WR FUHDWH FXVWRP W\SHV IRU PDJD]LQHV DQG DGYHUWLVHPHQWV

“Marian is well known for her illustrations, typography, and vector art.�

SDWWHUQV DQG FXVWRP W\SHV $OWKRXJK 0DULDQ KDV PXOWLSOH WDOHQWV YHFWRU DUW and illustrations are her specialties. Mar-� LDQ KDV D ZLGH UDQJH RI FOLHQWV YDU\LQJ

Marian’s book, “I Wonder,â€? was de-â€? signed and illustrated to portray her ZRUN DQG DELOLWLHV 7KH ERRN LWVHOI LV PHDQW WR EH H[SHULHQFHG Ă€UVW KDQG DQG LW KDV DQ DQFLHQW DQG PDJLFDO IHHO WR LW ,Q 0DULDQ¡V SRGFDVW ZLWK 'HVLJQ 0DWWHUV VKH GLVFXVVHG WKDW KHU ZRUN VRPHKRZ

Vector Art

Saks Fifth Avenue 2008 Christmas

“her work makes a connection with people, as if it makes them wonder�

Valentine’s Day Illustration

“She intends her audience to be engaged with her work, to take a double take� Pattern

PDNHV FRQQHFWLRQ ZLWK SHRSOH DV LI LW PDNHV WKHP ´ZRQGHU Âľ 0DULDQ EHOLHYHV this quality is because her work takes WLPH WR FUHDWH DQG LW LV DOO YHU\ LQWULFDWH Marian’s book includes ciphers, which are secret codes that are in the intricate ty-â€? SRJUDSKLHV IRXQG WKURXJKRXW WKH ERRN Marian Bantjes is a unique designer EHFDXVH VKH LV GHULYHG IURP KHU LQWHOOHF-â€? tual rigor, as she said in the podcast. She OLNHV WR XVH KHU EUDLQ DQG HQMR\V Ă€JXULQJ things out. Marian personally does not like to doodle; instead, she works to de-â€? YHORS D VXUSULVH RU VRPHWKLQJ WKDW LV LQ-â€? WHQWLRQDO EXW XQH[SHFWHG WR KHU YLHZHUV

She intends her audience to be engaged VHQWDWLRQ RI KHUVHOI DQG KHU ZRUN (DFK with her work, to take a double take SDJH LV XQLTXH DQG WHOOV D GLŕŠ”HUHQW VWRU\ rather than a quick scan. Marian’s work LV NQRZQ IRU EHLQJ GHWDLOHG DQG SUHFLVH ,Q KHU SRGFDVW , IRXQG LW LQWHUHVWLQJ how she approaches her work. She I chose Marian Bantjes because her KDV D SODQ RI ZKDW VKH ZLOO FUHDWH UDWK-â€? precise and intricate illustrated designs er than just doodling. Marian stressed DUH LQFUHGLEOH 7KH DPRXQW RI WLPH VSHQW that she used her brain and intelli-â€? is well shown in her work. I love Marian’s gence to create her work. She likes talent to create clean vectored art that WR Ă€JXUH WKLQJV RXW ZKLFK , EHOLHYH LV ORRNV VR VLPSOH EXW VHHPV FKDOOHQJLQJ why she is so great at developing intri-â€? WR SODQ RXW )RU H[DPSOH WKH ZRUNV VKH FDWH DQG WLPH LQYHVWHG GHVLJQV , DOVR KDV GRQH IRU 9DOHQWLQHV LQFOXGHV VR PDQ\ IRXQG LW LQWHUHVWLQJ WKDW VKH PHQWLRQHG VZLUOV WKDW Ă RZ ZHOO WRJHWKHU DQG FUHDWH she has included a cipher in her book. OHWWHUV DQG ZRUGV RQ WKHLU RZQ $OVR It is like her personal secret is included. her book “I Wonderâ€? is a great repre-â€?

Footnotes %DQWMHV 0DULDQ ´%LR DQG 3KRWR ¾ %DQWMHV 0DULDQ %DQWMHV Q G :HE 0DU KWWS ZZZ EDQWMHV FRP DERXW PH ELR DQG SKRWR! %DQWMHV 0DULDQ ´0DULDQ %DQWMHV 3URMHFWV ¾ %DQWMHV 0DULDQ %DQWMHV Q G :HE 0DU KWWS ZZZ EDQWMHV FRP ! ´0DULDQ %DQWMHV ¾ :LNLSHGLD :LNLPHGLD )RXQGDWLRQ 0DU :HE 0DU KWWS HQ ZLNLSHGLD RUJ ZLNL 0DULDQB%DQWMHV!

11

ALEX CENTER Alex Center is the lead designer for the Coca-­Cola Company, currently working in New York City. Center attended SUNY Buffalo studying graphic design and communication. He is known for designing packaging that has been seen around the world, marketing campaigns, and helped create new products. Today, he is in charge of the design vision and strategy for global brands at Coca-­Coal that include Smartwater, Vitaminwater and Powerade. I personally like his style because of his bold simple designs and his close relation to well known companies. I admire his passion for design and believing a good design is simply good business. Center broke away from the traditional way of following \RXU SDUHQW¶V FDUHHU EHFDXVH KH NQHZ KH ZDV EHQH¿FLDO LQ RWKHU DUHDV &HQWHU ZDV WDOHQWHG LQ SDLQWLQJ DQG GUDZLQJ DW a young age so he created a path of his own. During his schooling he was taught how to think and create designs with a message or a lesson. Alex Center believes it is important to make designs that can relate to people and tell them a story.

vitaminwater you’re up ooh campaign

“Make designs we can relate to. Tell us your story” 12

Powerade Sidelines Kit

“You must think you’re pretty special”

vitaminenergy

“Sometimes the best design solutions are right there in front of you.” Footnotes: Center, Alex. “About Center.”

13

Jessica Hische “That Drop Cap Girl”

essica Hische was born in Charleston, South Carolina in 1984 and was raised in a small town in Pennsylvania (Dylan). “I am a letterer, illustrator, and crazy cat lady known for my silly side projects and occasional foul mouth.” She works as a freelance letterer, illustrator and type designer. She earned a degree in graphic design as well as interactive design from Tyler School of Art (Dylan). She has created book covers for various authors as well as packaging designs, event announcements, and many more. After her graduation in 2006, she worked for a small company in Philadelphia creating book covers and illustrations (Hische). Later, she landed -what she thought to be- her dream job in Brooklyn (Hische). However, after too many sleepless nights and not being able to do her side projects, she called it quits and headed to San Francisco where she now lives with her husband (Hische). During her time as a freelancer, she took on a project that made her become known as “That Drop Cap Girl” (Hische). To keep herself occupied as a freelance designer, Hische created a webside called Daily Drop Cap. When work was slow or she had any free time at all, she created a letter of the alphabet (Hirasuna). Initial14

ly, she intedned to do an entire alphabet every week, but soon realized it was hard enough to squeeze in a single letter every day.

tion because I get asked all the time to draw things or just do other artsy things for people and when I say no, they don’t understand why I

“I am a letterer, illustrator, and crazy cat lady known for my silly side projects and occasional foul mouth.” She kept it up and with a short time period, the webside had a ton of activity and was being featured on shows and other design blogs (Hirasuna). By doing a such a small side project, she was taken to the top of the design world. In her interview on Design Matters, Hische men-

am not the best at drawing or whatever and I’m an art major. She also talked a lot about how the size of your portfolio does not always mean you will or will not get the job. She mentioned that after graduating college, her portfolio was very small, but you just have to w ` Ì >Ì i «iÀÃ Ì >Ì Ã

“Designers should’t be expected to be able to do everything” tioned that “Designers should’t be expected to be able to do everything” (Design Matters). That statement really caught my aten-

willing to take a chance on you (Design Matters). The last thing she mentioned that really caught my attention was that it is hard

to get someone to judge you based on your talent and not your portfolio. She explained that it is hard to put all of your talents onto a piece of paper (Design Matters). The reason I chose Jessica Hische as one of my designers is because although she was turned down by many companies, she never gave up and she does not let her fame get to her head. She really stresses that in order to be a good designer and be taken seriously, you must know the history of a project before you start it (Design Matters). Lastly, she stated that you should not be discouraged if you can’t get a job right out of college. Take that time to learn about all the aspects of design you don’t know about or to better yourself in the areas you do know about (Design Matters).

Resources Hirasuna , Delphine. “Do What You Love and the Assignments Will Follow.” Online Journal of Business and Design. 1. (2011): n. page. Web. 16 Mar. 2014. Hische, Jessica. “About.” Jessica Hische. N.p.. Web. Dylan, . “Why Can’t I Be You: Jessica Hische.” Rookie. Rookie Magazine, 20 Nov 2012. Web. Design Matters. Jessica Hische, Radio Show. Audio., 2011

Lovely

Say It With Flowers

Book Design

The Work You Do

Therapist

Mess it Up

Drop Cap “I”

15

An Essay about the man the myth, the legend: Aaron Draplin

Born in 1973 to Jim and Lauren Draplin in Detroit, Michigan, Aaron Draplin would not be your first guess as the famous graphic designer in the room. He grew up with interests in art in general, the outdoors, his family, and snowboarding. He went to Minneapolis College of Art and Design when he was 24 after spending five years out West freelancing and just doing his thing. Now Draplin is working for himself, making his own hours at Draplin Design Company which got off the ground in 2004. He is well known in the snowboarding industry as a snowboarder and as a designer but is not limited to that community at all. He is a major contributor to the graphic design community in practically all facets of the field. Some of his clients are Coal Headwear, the Union Building Company, Burton Snowboards, Cobra Dogs, Absinthe Films, RVL7 Apparel, the Obama Administration, Nike, and Old Spice. Those are only a few. Aaron Draplin is known for over all clean designs. His mission statement (or one of them for that matter) is “Work hard. Do good work. For good people.” That is his specialty. He is one of the few people that is good in pretty much every area that the field could go in. He works well in illustration, 16

identity production, software graphics, publication, action sports board graphics, and many other things. Draplin says some of his many services include: graphic design, art directing, blog maintenance, money spending (twice), barking, big words, Wrastlin’, and Friendship. This list begins to shed light on the character of Aaron Draplin which is one of many reasons I am drawn to the work he produces. He does not care to say what he means and he always means what he says. He always puts his all into his work and he loves every minute of it. In his interview on Design Matters he stated that he will be doing what he loves until his mouse finger gets old and falls off. This love for his work shines through in his work. Draplin’s involvement in the action sports industry is another am so fond of what he does. He had (and gave up) one of my dream jobs. Draplin gets to do what he loves, graphic design, which is also the field that I want to be in. I would like to specialize but that only happens in a perfect world. One that I can work towards. Aaron Draplin, during his interview, said that he sometimes didn’t think he deserved the amount of recognition he receives. He’s humble and knows that he has not reached his full po-

tential but has every intention of reaching it. I am amazed and inspired by the level of interest, love, and self motivation this man has to follow his dream. He wanted to make a living doing what he loved and against the odds that his community produced he succeeded. Also he curses a lot which is not always a good thing but sometimes I find it comforting. Knowing that some people that famous in my field don’t care to not be “proper.”

“Work hard. Do good work. For good people” “Never trust a dog that looks at you sideways.”

5 2 4 3

1

FOO T NO TES 1. Stefan Janoski NikeSB, 2009 2. All Tiny Creatures Harbors 3. February 2008, Year 04, Issue 05. On the cover: JP Walker. Quebec City, Quebec. Cole Barash photo. 4. 2008-2009 Catalog, 48 pages, 7” x 9”, Matte cover, Spot UV throughout, Mike Basher product photography 5. Compatriot Snowboards 2010 “Lupara 151cm” and “Outra Vez 164.5cm”

17

Sara Blake

Illustrator, fine artist, and designer

Wingspan  Owl

Out of the three designers I picked from

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York to go to college that she felt she began to

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artist and graphic designer. Sara Blake was born in Richmond, VA.

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work.

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ments of both realism and abstraction. It creates

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TEDx  Brooklyn

Brooklyn  Machine  Works

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Nike  House  of  Hoops  NYC

Winter  Owl

Footnotes: [1]  Millman,  Debbie,  comp.  â€œSara  Blake.â€?  Design  Matters.  Design  Observer,  22  Mar  2013.  web.  26  Mar  2014.

19

20

Aaron  Draplin

 Aaron  Draplin  was  born  in  Detroit,  Michigan  in  1973.   He  went  to  school  at  Minneapolis  College  of  Art.   At  the  age  of  19  he  moved  west  to  Bend,  Oregon.   He  got  his  career  started  with  a  snowboard  graphic  company  called  solid  snowboards.   After  that  he  went  from  working  on  lettering  cafĂŠ  signs  to  drawing  up  logos  for  advertis-­ ing  campaigns.   Aaron  has  done  a  variety  of  works  from  creating  snowboards,  logos,  t-­shirts,  records,  poster,  and  many  others.   He  has  created  logo  designs  for  some  bigger  known  companies  such  as  Nike  by  creating  the  Air  Max  360.   He  has  done  variety  of  works  with  companies  with  snowboards.  Aaron  Draplin  has  created  his  own  companies  called  Draplin  Design  Company.   Places  that  Aaron  has  worked  over  the  years  have  been  with  Wilderness,  Draplin  'HVLJQ &R &LQFR 'HVLJQ 2IÂżFH 6QRZERDUGHU 0DJD]LQH &KDUOHV 6SHQFHU $QGHUVRQ 'HVLJQ 3ULQFHVV 7RXUV 'UDSOLQ ,QGXVWULHV 'HVLJQ &R 1LFNHO $GV 6XQĂ€RZHU 3URGXFWLRQV 0U +ROLGD\ 6NL 5HVRUW &KLQD )DLU &UXVWHG &UHDWLRQ 3L]-­ ]D DQG 6HFRQG &KDQFH %RG\ $UPRU (YHU\ WLPH \RX VHH

Aaron,  he  is  usually  wearing  a  hat  that  has  the  DDC  on  it  UHSUHVHQWLQJ DQG DGYHUWLVLQJ KLV FRPSDQ\ (YHQ WKRXJK Aaron  does  not  care  for  them,  he  won  the  Art  Director  of  the  Year  for  Primedia  in  2000.   Aaron  is  an  important  de-­ signer  because  he  brings  a  different  element  than  any  other  designer  out  there.   He  does  not  give  a   â€œshitâ€?.   Aaron  is  a  relaxed  designer  who  creates  things  that  will  help  him  PDNH LW +H NQHZ WKDW D ÂżHOG RI JUDSKLF GHVLJQ ZRXOG EH a  better  suit  for  him  then  to  go  into  doing  precise  artwork.   He  is  important  to  the  design  world  because  he  brings  a  different  atmosphere  into  the  design  world  and  it  shows  when  you  see  his  work  and  see  different  uses  of  elements  when  he  creates  it. )RRWQRWHV Âł'UDSOLQ 'HVLJQ &R ´

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“Get Out there and get Dirty”- Aaron Draplin

Stefan

22

Sagmeister is known for music packaging art such as for David Byrne CD covers, and he succeeded to get Grammys. In 2009, he also got a Lucky Strike Designer Award. “Things i have learned in my life so far” (2008) and “Sagmeister, Made You Look” (2001) are also NIUW][ ;\MNIV ;IOUMQ[\MZ¼[ [XMKQIT\a Q[ PQ[ IZ\_WZS QV OZIXPQK LM[QOV TWWS[ TQSM I Å VM IZ\ using his photo-based works and typographies. This is because he believes graphic design can be as powerful as a painting. His design

Sagmeister was born in Bregenz, Austria in 1962 and is 52 years old now. He graduated with an M.F.A. from the University of Applied Arts in Vienna in 1985. He then moved to Hong Kong in 1991 in order to work with Leo Burnett’s Hong Kong Design Group. He returned to New York in 1993 to work for Tibor Kalman’s M&Co design company. The Reasons why I chose Stefan Sagmeister as one of designers for this assignment was because his materials selected for his artwork are unique, because his photos combined with deferent typefaces are humorous, and because most his artwork look clean and seems to be created with well thought ideas.

STE is silly.Either act or forget.”

process while working on some projects is widely and freely thinking about ideas, concentrating on just one project with no QV\MZZ]X\QWV IVL ][QVO LQ‫ ٺ‬MZMV\ \aXM[ WN technics and tools. In one of his designs for Arizone FW11 Campaign 2011, he

“Complaining

Captions

Top one and Bottom three “Art Direction & Design Aizone” CREATIVE DIRECTOR: Stefan Sagmeister

Middle of three “Take it On” ART DIRECTOR: Stefan Sagmeister, Jessica Walsh

SAG M

“Thinking that life

will be better in

the future is stupid.”

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showed a photo of a naked woman, who _I[ XIQV\ML \M`\[ _Q\P JTIKS KWTWZ WV PMZ body with white color. This idea seems to come up from his own design process.

FAN has to work,

Art does not.“

Reference

SAGMEISTER, STEFAN. “Stefan Sagmeister.” AIGA. N.p., n.d. Web. 17 Mar. 2014.

and his works spoke to me while seeing because he selected unique materials for his artwork, because his artwork designed in his photos combined with deferent typefaces look humorous, and because his ideas seems to be clean but be well thought.

Sagmeister

Millman in the podcast, Stefan Sagmeister [IQL PM [XMV\ MV\QZM aMIZ W‫\ ٺ‬W \PQVS IJW]\ _PI\ PM Q[ OWQVO \W LW NWZ \PM VM`\ [\MX <PQ[ _I[ interesting to me because sometimes a professional graphic designer need a break period to \PQVS IJW]\ PQU[MTN IVL PQ[ _WZS 0M M`XTIQVML IJW]\ \PM LQ[\QVK\QWV JM\_MMV IZ\ IVL LM[QOV# design has to work for something functionally such as a watch design, which should be considered it’s function for users, but art does not. I totally agreed with him when hearing his thought JMKI][M 1 PI^M VW\ JMMV KTMIZTa IJTM \W M`XTIQV \PM LQ[\QVK\QWV WN \PM[M \_W 0M _I[ K]ZZMV\Ta working on a design project, which is huge and compared the process of the project with a design project for a small object. He said he likes to work on designing for a small items such as a design of a cover design for a CD because he can spend much times on changing details in less time than designing for a big object. I do agree with him and like to work for a small item, too.

“Design

23

Jessica Walsh is a multi disciplinary designer, art director and illustrator who was born in New York in 1986 but was raised in Connecticut (Behance). She rattled the design world when she became the first and only partner in the studio of Stefan Sagmeister Sagmeister is a world-renowned graphic designer, known in part for Guggenheim’s own design legacy. He has created catalogs for the institution in the past. (Guggenheim Blogs). How did she become the woman to achieve such an honor to work with him? At age 11 she began teaching herself how to code just by using online websites on a trial and error basis. She liked Neo Pets at the time (a virtual pet) and became obsessed with wanting to make her pets page the best. Soon she began blogging and people started asking her to create websites for them. A year into that she started an html and css tutorial site that even offer some free website templates. The site became very popular, this being around the time of Google ads she started receiving checks for a couple thousand dollars a month (Design Matters with Debbie Millman: 2009-2014). When it became time to graduate high school she wasn’t sure whether to move toward the design side or the coding side of making websites. She chose to attend the Rhode Island School of Design. After graduating college she faced a very tough decision to make (The Great Disconnect). She was offered a job with apple but also and opportunity to more to New York and intern with the Pentagram, this being modestly paid compared to apple. She went with her gut though and took the offer in New York. Her work also became prominent while working at Print Magazine month (Design Matters with Debbie Millman: 2009-2014). At age 27 she continues to work with Stefan Sagmeister and the studio is called Sagmeister & Walsh. She does a wide range of projects, including exhibitions, branding, book design or design for products in general. One project in particular I found interesting was when she and fellow designer Timothy Goodman launched their intimate online project “40 Days of Dating.” The two used an innovative and addictive combination of text, design, and video to tell the story in which they decided to try and build a romantic relationship with each other. In a matter of weeks were bombarded with thousands of Tweets and emails, national media coverage, and a movie deal (Guggenheim Blogs). I chose to research Jessica Walsh because it is empowering to me that a woman so young can make such an impact in the design world. I also admire how hard she has worked to get where she is being that she started experimenting at such a young age. One quote in particular made my decision, it was when she said, “I am so incredibly lucky to have found my passion; it feels like I never had to grow up because I consider so much of what I do to be play” (The Great Disconnect). After listening to her podcast I found it interesting that she said at Rhode Island School of Design she worked so much with her hands and was not aloud to go into her major until sophomore year. She also learned to speak up for what she wanted, at the Pentagram there came a time where she told Paula Scher that she needed hired or she was going to leave. Lastly, I like that she reminded listeners to make sure everything in your portfolio is representative or you and what you want to do.

“Aizone FW12 Campaign” Art Direction & design for the Fall / Winter advertising campaign for AiWzone, a luxury depart-­ ment store in the Middle East.

24

“NY Times Cover Arts & Leisure Section”

She was asked to create an image that repre-­ sented classical and pop music, theater, art. etc

“Everything in your portfolio is representative of you and what you want to do”. “Minis Campaigns”

Paper art

“SHOW”

for RISD XYZ Magazine

“Aizone FW11 Campaign”

Body Painting / Typography

“The first and only partner in the studio of Stefan Sagmeister.” “Aizone FW12 Campaign”

“Shared Voices Poster”

“I am so incredibly lucky to have found my passion; it feels like I never had to grow up because I consider so much of what I do to be play”

References

“Behance.” Behance. N.p., n.d. Web. 16 Mar. 2014 https://www.behance.net/jessicawalsh. “Design Matters with Debbie Millman: 2009-­2014.” ITunes. N.p., n.d. Web. 16 Mar. 2014. https://itunes.apple.com/us/podcast/design-­matters-­debbiemillman/ id328074695?mt2. “The Great Discontent.” : Jessica Walsh. N.p., n.d. Web. 16 Mar. 2014. http://thegreat-­ discontent.com/jessica-­walsh. “Guggenheim Blogs.” Guggenheim Blogs. N.p., n.d. Web. 16 Mar. 2014. http://blogs. guggenheim.org/checklist/awesome-­twisted-­beautiful-­qadesigner-­jessica-­walsh

25

Jessica  Hische Letter Cult

Believe it or Not

March for the Animals

Buttermilk, font Makeup

2

28

In today’s society, everything is all about looks. You are told how to look, how to talk, how to dress, and even how to eat. But why does all that matter? Why do we have to be told how to look? What makes someone think that they are in charge of how everyone looks? Looks are not the most important aspect of anything. Just like the cover is not the most important part of a book, or a shoebox the most important part of the shoes....it just a small part of it. How about this, let’s say you’re making a salad. You start off with a fresh bed of spinach greens. Next you add some carrots, maybe a little broccoli and even a few mushrooms. Lastly, you top it off with some croutons and a splash of honey balsamic vinaigrette dressing. It is kind of beautiful, right? But wait! You

ing something is about making it memorable and making a statement with it. Doing something completely different can make a huge impact on the way your work is viewed. If you take chances and do your work the way that makes

“If you take chances and do your work the way that makes you the happiest, people will remember it” you the happiest, people will remember it. Maybe not everyone will think it is the most beautiful thing they have ever seen, but it sure will catch some attention. And in the end, it is making you smile. There will always be someone out there that does not like the way you do things, but that is just a part of life. Different people like different things.I do not like tomatoes, but my sister loves tomatoes. That does not make tomatoes bad for you. Just like I love the color yellow, but my sister despises the color yellow. But that doesn’t mean that the color yellow is ugly, right? Right! It is impossible to please every-

“Doing something completely different can make a huge impact on the way your work is viewed.” forgot to add the cheese...and you really like cheese. Therefore, you just pile all the cheese on top until you can’t even see the beautiful salad you created underneath it. Why does that matter though? It is still a salad and it still tastes pretty amazing if you ask me. All that cheese on top is what made it your salad. You made it for yourself. It is yours. When someone looks at your salad, they’re going to remember it, trust me. When they think back to your they will remember that your so called “salad” was just a giant pile of cheese. Then there you are, with your now totally unhealthy “salad”, filling yourself with complete deliciousness. You are fully satisfied, right? How is this relevant to design you ask? It is very simple. Design-

“Looks are not the most important aspect of anything.” one. So that’s why you should make things you like that make a statement. If you like cheese, the cover it in cheese. Your message that you love cheese is very clear. Thats how your work should be. Its not all about how great something looks. It is about how clear the message in your work is transferred. [Mess It Up]

29 3

effects  in  her  illustrations,  Sara  uses  digital  media  by  scanning  her  drawings.  This  blend  of  traditional  and  digital  methods  creates  a  stunning  effect  in  all  of  her  illustration  work.

ism  and  abstraction,  creating  a  unique  style  and  feel Â

to  her  illustrations.  Sara  Blake  blurs  the  line  between Â

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more  photorealist  than  she  would  usually  prefer  in Â

comfort  zone,  as  she  had  to  make  these  illustrations Â

store  displays.  This  project  was  a  little  out  of  Sara’s Â

ated  illustrations  of  NBA  stars  for  a  Nike  to  use  as  in Â

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illustration  work.  She  has  worked  for  a  variety  clients, Â

Â

pronounced  zho.

runs  her  own  design  studio  in  New  York  named  ZSO, Â

Graphic  Art  and  Postmodern  Studies.  She  is  currently Â

School  of  Individualized  Study  with  a  concentration  in Â

Sara  graduated  from  New  York  University’s  Gallatin Â

that  she  felt  she  began  to  come  into  herself  [1]. Â

wasn’t  until  she  moved  to  New  York  to  go  to  college Â

ever,  she  never  felt  really  in  place  in  her  hometown.  It Â

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to  have  created  a  bridge  between  the  two  worlds, Â

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what  they  stand  for.  Finally,  I  liked  that  Sara  was  both Â

ting  tattoos  for  the  decoration  of  the  body  rather  than Â

ist  approach  when  it  even  comes  to  her  tattoos,  get-­

and  â€œpulling  full  circleâ€?  element.  She  applies  this  styl-­

upside  down  heart,  while  the  O  is  a  very  completing Â

stylistic  reason  that  a  Z  and  S  connect  to  make  an Â

pany  name,  ZSO.  She  picked  these  letters  for  the Â

a  symbolic  or  representational  one.  Such  as  her  com-­

are  done  purely  from  a  stylist  stand  point  rather  than Â

interesting  about  Sara  is  that  many  of  her  designs Â

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realism  and  abstraction.  It  creates  an  intriguing  and Â

away.  I  like  how  her  pieces  include  elements  of  both Â

Like  I  stated  before,  I  fell  in  love  with  her  work  right Â

I  chose  Sara  for  several  different  reasons. Â

an  equally  crappy  sculptor.â€?  To  get  the  colors  and Â

tional  and  digital  methods.  Her  work  uses  both  real-­

Â

er,   pretty  terrible  and  contrived  photographer,  and Â

Sara’s  illustrations  are  a  unique  blend  of  both  tradi-­

Sara  Blake  was  born  in  Richmond,  VA.  How-­

In  her  podcast  she  called  herself,  â€œa  terrible  paint-­

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Sara’s  self-­proclaimed  specialty  is  drawing. Â

maintain. Â

Out  of  the  three  designers  I  picked  from Â

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Â

Nike  House  of  Hoops  NYC

I’ve always self described as just being a weird kid.

30

Listening  to  Sara’s  podcast  brought  up  many Â

Sara  Blake  is  an  amazing  illustrator  as  well Â

Design  Observer,  22  Mar  2013.  web.  26  Mar  2014.

[1]  Millman,  Debbie,  comp.  â€œSara  Blake.â€?  Design  Matters. Â

Footnotes:

can  master  one  day.

and  graphic  design.  It  is  an  art  that  I  hope  I  myself Â

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that  creates  visually  stunning  work.  I  am  inspired  by Â

work  bends  a  line  between  realism  and  abstraction Â

than  relying  on  symbolism  or  representation.  Her Â

as  designer.  Her  work  is  unique  and  stylist,  rather Â

Â

different  things  if  I  too  will  tire  of  my  old  work.

it  forever.  I  wonder  then  once  I  have  moved  on  to Â

love,  I  seem  to  hold  on  to  a  sense  of  pride  about Â

about  their  past  work.  If  I  create  something  I  really Â

not  the  only  designer  I  researched  who  felt  this  way Â

as  they  age,  getting  sick  of  her  own  work.  She  was Â

it’s  interesting  that  she  loses  interests  in  her  work Â

and  believes  in  the  freeing  ability  of  failure.  Finally, Â

been  important  for  Sara.  She  loves  happy  accidents, Â

as  the  only  option.  Learning  from  failure  has  always Â

personal  style.  Another  thing  was  her  belief  in  failure Â

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already  have  a  set  style  or  method.  I  feel  better  in Â

until  after  she  left  college.  I  often  worry  that  I  should Â

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interesting  thoughts.  First,  I  found  it  interesting,  and Â

Â

ways  to  pull  them  into  my  own  graphic  design  work.

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Winter  Owl

...a terrible painter, a pretty terrible and contrived photographer, and an equally crappy sculptor.

31

Brooklyn  Machine  Works

TEDx  Brooklyn

Wingspan  Owl

Alex Center Suppose we switch things up and make everyone take a second look. Instead of always giving away the answer, what if we made them stop and think. In general, most designs are made to be simple, bold and recognizable. We want the people to remember us at a quick glance, but what if we made the design so intriguing you couldn’t help but be interested.

“What if we made them stop and think?” The main argument is that typography should not take away or distract you from the content. That being said, what if we put more effort into the design as a whole. This way you could portray a deeper meaning and people would become more aware of what is around them.

If others started to pay more attention to the design, they could see what the design is trying to say. We could learn to take our time on things and process the true meaning. This could slow the world down, maybe wouldn’t make oth-­ ers move as fast or always being in a hurry. What if we weren’t always in such a rush?

“What if we only focused on the design aspect?”

32

“Convey different messages while challenging readers.”

What if we were to focus only on the design as opposed to the message? This forcing people to realize the beau-­ ty in designs, not just what someone is trying to say. This would make them want to look closer at the design, not that the message is no longer important but it could give the designer more at-­ tention. People would have to step back and think, take a closer look at what the design is trying to convey.This could be something so intriguing it would draw in their attention and interpret how the design impacts the message.

If we were to take a step back and focus less on the content we could move our focus to the creativity of the design. Putting as much detail into any of the designs. Since the focus is usually on the content, the viewer doesn’t have to think about what message the design-­ er is conveying. This answer is simply given to them.

convey different messages while chal-­ lenging readers. Their individual in-­ terpretation will be put to the test. The content can still produce clear, but also imaginative designs.

“The entire message is important” In advertising we must let the design speak for itself, tell a story of its own. We are so focused on receiving the an-­ swer right away;; we forget to produce our own thoughts. If the design are not as inviting then the focus is on the con-­ tent. This makes us focus on the clarity and legibility instead of allowing new LGHDV ÁRZ 7KH WH[W DQG FRQWHQW LV LP-­ portant, but it should not be the primary means, the entire message and design should be the most important.

Again, we can always go back to the issue of someone not getting the same idea as others, but it may encourage people to slow down and ask questions.

“Try taking a step back, take a second look.”

Typography is an important to getting the message across visually as speak-­ We need to let the creativity expand. ing is verbally. We can go back to the Restricting designs because we always idea to focus on the design and content want them to be short and sweet could as whole. We want people to notice the be holding us back. We can still pro-­ design and catch their eye so they are duce design that can be clear and un-­ willing to take another look. We want derstood, but the designers would have to grab your attention, draw you in PRUH ÁH[LELOLW\ ZLWK WKHLU FUHDWLYLW\ 7KH and give them a reason to look further. designs will create and produce images These should persuade people to ques-­ that people want to see. They need to tion their initial thought, think again and be intriguing, creative and eye catching. become more aware. All of these aspects will help

“These should persuade people to question their initial thought, think again and become more aware.”

“Let the design speak for its self”

Footnotes: Center, Alex. “About Center.”

33

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35

esbo

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Shannon Medic, Executive Director

Nate Beaty, Web Developer

ebelly Design & Fir By Tori Jack

Amelia Vanderbilt, Office Manager

Dawn Hancock is well known for running a design company called Firebelly Design, which has the motto to make Good Design for Good Reason. The company is full of skilled typographers, writers, photographers and makers, all of which have about 75 years of professional experience combined between them all. The company has been open since 1999, and have produced work that they believe in and their FOLHQWV FDQ WUXVW 'DZQ +DQFRFN GRHVQ¡W really set herself apart from Firebelly, as it is her main focal point and what she considers her center of gravity. She built the company up all on her own, where she has the help of her “fearlessâ€? team and a lot of support from her neighbors. The Firebelly Foundation, which started in 2006, is D QRQ SURĂ€W RUJDQL]DWLRQ WKDW 'DZQ decided to start, and eventually grew into a socially minded enterprise. It includes several programs that all show her passion and ethic. She also runs a 10-day summer camp, Camp Firebelly, to work with young designers. Dawn Hancock is all about collaboration. She likes getting her clients involved early, but DOVR VKDULQJ LGHDV DURXQG KHU RIĂ€FH HYHQ LI VRPH RI WKHP DUHQ¡W ZRUNLQJ ZLWK KHU RQ WKH SURMHFW This is because she thinks the best ideas come from conYHUVDWLRQV DQG EHLQJ RSHQ WR RWKHU SHRSOH¡V SHUVSHFWLYHV Dawn and her team at Firebelly have done a variety of different projects together. One example being design work for a bike share program in Chicago, called Divvy. They de-

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Firebelly Design Logo

a H n c n o w c a

Nick Adam, Account Manager

Will Miller, Creative Director

cided to focus on the practical and utilitarian aspects of riding a bicycle, to make their bike share a smart, active, and logical way to get around the big city. They also added in some playfulness to their design to ease the fear for some peoSOH RI ELNLQJ LQ D ELJ FLW\ DQG HYHQ FKRVH WR KRQRU &KLFDJR¡V RZQ FLW\ SULGH VKRZLQJ PDQ\ WUDLWV RI WKHLU FLW\¡V FLWL]HQV ZLWK the use of colors and the symbolic Chicago star. She is a member of the AIGA in Chicago, who every year produces a book that they give out at their Annual Members Meeting. Dawn and her Firebelly team worked together to design the book for the 2010 – 2011 meeting. For this project, they used spot sand trapSLQJ VSRW Ă RUHVFHQW and a wraparound cover band. The theme of the book was boundaries and how they form creative space, and also environmental graphics at the Park West on the night of their meeting. Another example RI WKLV WHDP¡V ZRUN ZRXOG be the website for the Big Chicks bar and the restaurant next door, called Tweet. The owner of both, named Michelle Fire, has made Big Chicks bar to be a place that is considered to be one of a kind. It had been one of the go to places in the city for over 30 years. Because of this success, she decided to open a restaurant next door, which she called Tweet. Dawn Hancock had been a fan of her business ever since she moved to the area, and even offered to design their website for free when she was just starting out in the design world and Firebelly was able to go through with the work 15 years later.

“I’m all about collaboration. From getting the client involved early and all throughout, to sharing ideas around the office regardless of who’s ‘working’ on the project. I feel like the best ideas come from conversations, files exchanges and being open to other people’s perspectives.�

36

Dawn Hancock, Founder

Divvy Bike Share Promotion

Divvy Bike for Bike Share

“Building a studio around a collaborative process, forces me to keep myself in check and in-turn has proven, in my experience, to create the best work.�

“For other people out in the world doing good, adding a designer to your team can help you do even more good, in a beautiful way.�

Big Chicks Bar and Restaurant Website

AIGA Chicago Book

AIGA Chicago Book Outside

References

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37

In The Crystal Goblet, Beatrice Warde states that typography should be invisible. The use of fancy fonts, heavy or large fonts, etc., can distract from the message trying to be conveyed. I believe this idea is wrong. There are situations and ideas that need to be presented in a simple non-â€?distracting way. However, other circum-â€? stances require or even demand a fancy script or bold and large fonts. Such strategies can catch and hold a person’s interest and create a desire to read and learn more. Type design, selection and layout are used to convey more than the idea or message. They can convey the atmosphere or context of a product or idea. Creative, bold and even quirky designs are often necessary to create the entire concept being conveyed and are not a distraction contrary to Warde’s beliefs. A design can often be used to relate the message being conveyed. An intricate design will catch the viewer’s eye thus leading them to further read into the content it beholds. Following Warde’s metaphor, one cannot fully appreciate wine by seeing it through a simple crystal goblet. The true pleasure of enjoying wine comes not only from smelling and tasting the wine, but also from drinking the wine surrounded by friends in a comfortable chair in a relaxed setting. It takes all of these factors to create the ultimate experience. If one or more of the elements are missing, the experience can be enjoyable but not the best. This being said, a goblet that is unique in design and color is more appealing to the eye compared to a simple crystal goblet. The pleasure of drinking from an intricate or uniquely designed goblet will make the experience more enjoyable. At that moment, the wine will complete the experience of a rich design. The feeling of having or using an extravagant item will make one feel more important. Likewise, it is the total typographic experience that enables the reader or viewer to fully visualize the concept or mes-â€? sage being communicated. The design or selection of type is extremely important. Use of a fancy font can be more DSSHDOLQJ WR WKH UHDGHU KRZHYHU D IRQW WKDW LV WRR LQWULFDWH ZLOO EH GLŕśźFXOW IRU WKH UHDGHU WR IRFXV RQ IRU D ORQJ SHULRG of time. Likewise, a font too simple will receive a boring reaction from the reader. For instance, a font that is bold and large will be more appealing and catch the attention of the viewer’s eye. In comparison, a font that is standard be-â€? comes bland. For a reader, the font used should relate to the message it is portraying. Typography should not be invisible as Warde wanted us to believe. In fact, typography should be fully utilized to help convey the message intended. Although some situations may require a simple small font, other situations may require a more intricate design or a large bold font to adequately attract the reader and convince them to explore the entire message or to convey the texture or atmosphere of the product involved or story being told. For these reasons, an invisible approach to typography, as stated by Warde, is not necessarily in the best interests of the typographer, the client, or the message.

38

“Require or even demand a fancy script or bold and large fonts”

Vector Art

Book -‐ I Wonder

Book -‐ Pretty Pictures

Warde, Beatrice. “The Crystal Goblet, or Printing Should Be Invisible.” Typo-‐L. N.p., n.d. Web. Mar. 2014. <http://gmunch. home.pipeline.com/typo-‐L/ misc/ward.htm>.

Vector Art

Vector Art

“Typography should not be invisible” 39 Vector Art

R O A N A P A L R IN D Aaron Draplin was born in Detroit, Michigan in 1973. He went to school at Minneapolis College of Art. At the age of 19 he moved west to Bend, Oregon. He got his career started with a snowboard graphic company called solid snowboards. After that he went from working on lettering café signs to drawing up logos for advertising campaigns. Aaron has done a variety of works from creating snowboards, logos, t-shirts, records, poster, and many others. He has created logo designs for some bigger known companies such as Nike by creating the Air Max 360. He has done variety of works with companies with snowboards. Aaron Draplin has created his own companies called Draplin Design Compafq& HdY[]k l`Yl 9Yjgf `Yk ogjc]\ gn]j l`] q]Yjk `Yn] Z]]f oal` Oad\]jf]kk$ <jYhdaf <]ka_f ;g&$ ;af[g <]ka_f G^Ú []$ KfgoZgYj\]j EY_Yraf]$ ;`Yjd]k Kh]f[]j 9f\]jkgf <]ka_f$ Hjaf[]kk Lgmjk$ <jYhdaf Af\mklja]k <]ka_f ;g&$ Fa[c]d 9\k$ KmfÛ go]j Hjg\m[lagfk$ Ej& @gda\Yq Kca J]kgjl$ ;`afY >Yaj$ ;jmkl]\ ;j]Ylagf HarrY$ Yf\ K][gf\ ;`Yf[] :g\q 9jegj& =n]jq lae] qgm k]] 9Yjgf$ `] ak mkmYddq o]Yjaf_ Y `Yl l`Yl `Yk l`] <<; gf al j]hj]k]flaf_ Yf\ Y\n]jlakaf_ `ak [ge% hYfq& =n]f l`gm_` 9Yjgf \g]k fgl [Yj] ^gj l`]e$ `] ogf l`] 9jl <aj][lgj g^ l`] Q]Yj ^gj Hjae]\aY af *(((& 9Yjgf is an important designer because he brings a different element than any other designer out there. He does not give a “shit”. Aaron is a relaxed designer who creates things that will help him eYc] al& @] cf]o l`Yl Y Ú ]d\ g^ graphic design would be a better suit for him then to go into doing precise artwork. He is important to the design world because he brings a “Get out there and get Dirty” different atmosphere into the design world and it -Aaron Draplin shows when you see his work and see different uses of elements when he creates it.

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“Saul Bass that shit up.” -Aaron Draplin

FOOT NOTES “Draplin Design Co.” Draplin Design Co. N.p. 2013. Web. 31 Mar 2014 “Core 77.” -Industrial Design Supersite. N.p., 17 May 2014 1. Forktown Food Tours, 2010 2. All Tiny Creatures- Harbor 3.”Peace Fingers”- Re:volve 4. Finex Cast Iron Work- Identity 5.Slime Grenade T-shirt Design

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Müller-Brockmann Swiss Design and The Grid System

“...An ABsolute and Universal form of graphic expression” 1 1. Beethoven Poster 3ODNDW $I¿ WFKH 3RVWHU 3. derFilm Poster 4. Swiss Automobile Club 5. Olma Cow Poster

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3

4

2

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“The Era’s Most Influential Swiss Designer�

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University  of  Zurich,  and  at  the  Kun-­

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about  communicating  clearly.  This  is Â

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stgewerbeschule,  Zurich.  He  married Â

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important  today  as  ever  in  advertising, Â

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of  the  golden  mean,  considered  the Â

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the  land  of  Switzerland.  The  Swiss Â

Zurich,  specializing  in  graphic  design, Â

most  beautifully  proportioned  rectangle Â

his  designs,  writing,  and  teaching, Â

International  Style,  also  known  as  the Â

exhibition  design  and  photography.  It Â

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Muller-­Brockmann  became  the  era’s Â

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gan  to  develop  his  style.  He  sought  an Â

book  entitled  Grid  Systems  in  Graph-­

national  movement  he  helped  create Â

unity  of  design,  achieved  by  asymmet-­

absolute  and  universal  form  of  graph-­

ic  Design.  According  to  its  foreword, Â

grew  beyond  the  country’s  borders Â

rical  organization  of  design  elements Â

ic  expression  through  objective  and Â

it  was  intended  to  provide  designers Â

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operating  in  two  and  three  dimensions Â

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with  a  practical  guide  to  enable  him Â

copy  presented  in  a  clear  and  factual Â

photography  can  be  seen  all  across  his  or  her  to  â€œhandle  visual  problems  and Â

Footnotes

manner.  The  typography  was  sans-­ser-­

work.  He  developed  numerous  projects  solve  them  in  terms  of  conception, Â

Meggs,  Philip  B.,  and  Alston  W.  Purvis. Â

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in  different  industries  over  the  span  of Â

“Chapter  18:  The  International  Typograph-­

organization  and  design  with  greater Â

PDUJLQ FRQÂż JXUDWLRQ 0HJJV 2QH his  career,  including  his  famed  posters Â

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of  the  leading  theorists  and  practitioner Â

for  the  Tonhalle  Gesellschaft  Zurich, Â

What  was  the  lasting  impact  of Â

of  this  style  was  the  designer  Josef Â

the  signage  system  of  Zurich’s  airport, Â

Muller-­Brockmann  on  the  world  of Â

MĂźller-­Brockmann.  His  work  is  both Â

and  his  appointment  as  the  Europe-­

graphic  design?  Muller-­Brockmann’s Â

simple  and  brilliant,  with  clean  use  of Â

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work  set  up  a  new  way  at  looking  at Â

typography  elements.  The  works  that Â

layout  design.  His  grid  system  is  still Â

Gomez-­Palacio,  Bryony,  and  Armin  Vit. Â

Muller-­Brockmann  created  still  contin-­

Muller-­Brockmann  was  also  very  inter-­

implemented  frequently  today.  In  fact, Â

Graphic  Design,  Referenced  :  A  Visual Â

ue  to  inspire  even  today. Â

ested  in  mathematical  proportions  and Â

you  could  go  order  the  guide  off  of Â

Muller-­Brockmann  was  born  Josef Â

his  creating  and  use  of  the  grid  system.  Amazon  right  now  if  you  so  choose. Â

Mario  Muller  on  May  9,  1914  in  Rap-­

His  work  demonstrated  the  universal Â

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perswil,  Switzerland.  He  studied  archi-­

design  harmony  achieved  by  mathe-­

al  Style  can  be  seen  in  many  graphic Â

Rockport  Publishers,  2009.  eBook Â

tecture,  design  and  history  of  art  at  the Â

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designs  today.  The  Swiss  style  was Â

Collection  (EBSCOhost).  Web.  15 Â

ic  Style.â€?  <i>Meggs’  history  of  graphic  design</i>.  5th  ed.  Hoboken,  N.J.:  John  Wiley  &  Sons,  2012.  .  Print.

Guide  To  The  Language,  Applications,  And  History  Of  Graphic  Design.  Beverly,  Mass: Â

43

M A S S I M O

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V I G N E L L I

´,I \RX GR LW ULJKW LW ZLOO ODVW IRUHYHU ¾ - Massimo Vignelli

Massimo Vignelli, a modernist designer, was born in Milan , Italy in 1931. He is still alive today at the age of 83. Him and his wife, Lella Vignelli, are the founders of the Vignelli AssoKQI\M[ LM[QOV ÅZU <PMa PI^M LWVM UIRWZ _WZS with company such as IBM, Knoll, BloomingLITMŸ[ IVL )UMZQKIV )QZTQVM[ 0M _WZSML _Q\P \PM 6I\QWVIT 8IZS ;MZ^QKM IVL \PM ,M[QOV [\INN at Harpers Ferry Center in creation of the unigrid system. Since 1977 the system has been ][ML QV KZMI\QWV WN XIZS JZWKP]ZM[ QV ITT 6I\QWVIT 8IZS TWKI\QWV 5W[\ WN \PM _WZS[ \PI\ 5I[[QUW LQL _I[ _PMV he reached the United States around 1957 to 1960. In 1965 he was already being established in the US when he became a co-founder IVL LM[QOV LQZMK\WZ WN =VQUIZS 1V\MZVI\QWVal Corporation. In 1971 him and his wife established Vignelli Associates and Vignelli De[QOV[ QV ! 5I[[QUW KZMI\ML \PM 6M_ AWZS City subway maps for the whole city. Vignelli’s mission was to impact millions of people’s TQ^M[ \PZW]OP LM[QOV 7\PMZ _WZS[ WN PQ[ _MZM with companies such as American Airlines and

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IBM. He created the American Airlines logo in 1968. Massimo Vignelli was past president of two large design organizations. He was the president of the AGI (Alliance Graphique Internationale) and also of the AIGA (American Institute of Graphic Arts). <PM [\aTM NWZ 5I[[QUW >QOVMTTQ _I[ 5WLMZVQ[\ Modernist or Modernism is a style that deals with the creations of traditional forms of art, design, architecture and social organization that were becoming outdated in the new modMZV _WZTL <PQ[ [\aTM KIUM QV\W XTIa QV \PM 19th going into the 20th century. Massimo has ][ML \PQ[ [\aTM QV PQ[ _WZS \W KZMI\M I UWLMZV Å\\QVO QV PQ[ LM[QOV[ Massimo Vignelli is an important designer to today’s world because he has impacted more TQ^M[ \PIV XMWXTM IK\]ITTa SVW_ .ZWU \PM XMWXTM \PI\ ZQLM \PM []J_Ia[ QV 6M_ AWZS +Q\a M^MZaLIa \W \PM XMWXTM ]X QV \PM IQZ ÆaQVO WV )UMZQKIV )QZTQVM[ ?Q\P PQ[ _WZS WN LM[QOV PM has made recognizable designs that have created different world for not only designers but ordinary modern day people.

Paul Rand By Tori Jack

SRUWIROLR ZKLFK ZHUH LQÀXHQFHG E\ D *HUman advertising style. Around this time, he shortened his name from Peretz Rosenbaum to Paul Rand because the use of four letters LQ ERWK KLV ¿UVW DQG ODVW QDPH ZRXOG PDNH for a good symbol. Throughout his twenties, his reputation in the design world grew. His most recognizable work is from his designs of many corporate identities, most of which are still used today. He designed the logos for companies such as IBM, ABC, Cummins Engine, Westinghouse, and UPS, along with many more. One of the most well known RI KLV ORJRV ZRXOG EH WKH ,%0 ORJR +H ¿UVW PRGL¿HG LW LQ DQG PDGH PDQ\ SDFNDJing and marketing materials for the company, including the famous Eye-Bee-M Poster. Paul Rand, who’s birth name is actually Peretz Rosenbaum, was born on August 15, 1914 in Brooklyn, New York, and lived until November 26, 1996, when he died of cancer. He devoted his 82 years of life to graphic design, being one of the most well known American designers for his famous logo designs. He went to schools such as the Pratt Institute, the Parsons School of Design, and the Art Students League. He was also known for being one of the people who originated the Swiss Style of graphic design. He started out his career working on small assignments, where he worked part time designing for newspapers and magazines. While in school, when he wasn’t working on assignments, he developed a pretty large

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One logo that really hasn’t seen any change since his design is the American Broadcasting Company logo. Still used is the simplistic logo with the white text reading abc in a black circle, which is highly recognized still today. Paul Rand transformed the out of date

shield used in the original UPS logo to a more modern image, something that has been adjusted, but his design started the foundation. With this design, he did one thing and stuck to it. He believed that if you show a client more than two ideas, you could make your position weak. He said that you should make one solid idea and stick to it and that it would be your best choice. It happened very often with his logos that his

¿UVW LGHD HQGHG XS EHLQJ WKH ¿QDO SURGXFW Paul also collaborated with Steve Jobs to create a logo for his NeXT Computer identity. He made a simple black box and had the company’s name in two lines. Steve Jobs was extremely pleased with the design, calling him the greatest living graphic designer.

“Design can be art. Design can be aesthetics. Design is so simple, that’s why it is so complicated.”

o t y r t t ’ n , l o a D “ n i g i r o be try to t s u ” . j d o o g be

“Eve ryth ing is d e Ever sign. ythi ng!”

References “Biography.” Paul Rand. N.p., n.d. Web. 15 Mar. 2014. “Logo Design Love.” All about Designer Paul Rand. N.p., n.d. Web. 15 Mar. 2014. “Paul Rand | American Icons | Area of Design.” Paul Rand | American Icons | Area of Design. N.p., n.d. Web. 15 Mar. 2014. “Paul Rand.” - Iconofgraphics.com. N.p., n.d. Web. 15 Mar. 2014.

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herbert bayer Herbert Bayer was a graphic designer, typog-� rapher, and architect designer who worked in Austria and America. He was born on April 5, 1900 in Haag, Austria. Bayer trained under the Art Nouveau style but con-� verted to Bauhaus manifesto style. He apprenticed at a local architec-� WXUDO GHVLJQ DQG JUDSKLF DUWV ÀUP under Georg Schmidthamer. In 1920, Bayer attended the fa-� mous school of design, Bau-� haus, in Weimar, Germany. 7KHUH KH OHDUQHG KRZ LQà X-� ential the growing modern industry was and that great designs were needed for ar-� chitectural developments. $IWHU ÀQLVKLQJ KLV VFKRROLQJ Bayer remained at Bauhaus and he was appointed director of printing and advertising. For WKH %DXKDXV %D\HU ZDV LQà XHQ-� WLDO IRU KLV SURÀFLHQW VNLOOV LQ PRG-� ern typography and advertising. As a typographer, Bayer developed a clean visual style and used all lower-� case in a san serif typeface. He designed a geometric san serif called the Universal Alpha-� bet. However, it was only used as a design rather than being fully developed. In 1928, Bayer estab-� OLVKHG KLV RZQ JUDSKLF GHVLJQ ÀUP LQ %HUOLQ 2QH of his clients was Vogue Magazine and he be-� came the art director of the magazine. In 1936,

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Bayer designed a brochure for the Deutschland Ausstellung, an exhibition for tourists during the %HUOLQ 2O\PSLFV %D\HU PRYHG WR WKH 8QLWHG States in 1938 and settled in New York. Bayer then moved to Colorado, where he later became a design consultant for the Aspen cultural center. Bay-� er died on September 30, 1985 but he is still well recognized as the last Bauhaus member alive. Herbert Bayer’s work was focused on geometric forms presented in his designs and

“he  had  an  eye  for  precisionâ€? typefaces. He had an eye for precision which left his work clean and sharp. The angles used in his works show depth and movement, and the bright colors attract the eye. As a designer, Bay-â€? er’s goal was to portray the most important ele-â€? ments in his designs, having a simplistic approach. As Bayer was commissioned by Vogue Magazine DQG WKH EURFKXUH IRU WKH %HUOLQ 2O\PSLFV KH FUH-â€?

ated advertisements for them. His approach to advertisement was sim-� plistic, eye catching, and included many pictures with minimal words. Herbert Bayer made himself well known with Bauhaus, however, I ÀQG KLV ZRUN WR EH VLPSO\ XQLTXH ,W seems easy to combine shapes with added simple colors, but the angles and precision of the shapes are per-� fect. Bayer created a new typeface, the Universal Alphabet, which is so simple for the basic reason that it is so easily readable. He was smart in making his work be recognizable to many of the public and so easy to un-� derstand which gave it more meaning.

“communicate  directly  in  a  simple  wayâ€?

“advertisement  was  simplistic,  eye  catching,  and  included  many  pictures  with  minimal  words. Bayer is mainly important from his work within the Bauhaus, but his work grew even outside of the Bauhaus. He gave a new insight of what a graphic GHVLJQHU FRXOG GR 7KH XVH RI GLŕŠ”HUHQW SHUVSHFWLYHV ZDV XQLTXH DW WKDW WLPH which became something new for fu-â€? ture graphic designers to experiment with. Bayer’s goal with design was to communicate directly in a simple way. Design did not have to be extravagant.

Photography Editing

Universal Alphabet

Illustration

Cohen, Arthur A. Herbert Bayer: The Complete Work. Cambridge: The MIT Press, 1984. Print. Chanzit, Gwen Finkel. From Bauhaus to Aspen: Herbert Bayer and Modernist Design in America. Johnson Books, 2005. “Herbert Bayer.� RIT Libraries. Graphic 'HVLJQ $UFKLYH 2QOLQH Q G :HE 0DU 2014. <http://library.rit.edu/gda/design-� er/herbert-�bayer>. Nowack, Abigail. “Herbert Bayer : The Modern Artist.� Abigail Nowack. Abigail Nowack, 26 Nov. 2013. Web. 15 Mar. 2014. <http://abigailnowack.com/blog/>.

Illustration

Illustration

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Eric Gill

Eric Gill was born on February 22, 1882 in Brighton, England. He studied art at Chichester Technical and Art School and later moved to London where he trained as an architect (Stuart-Smith). He also

In 1936, Gill was named Royal Designer for the Industries. took evening classes at Westminster Technical Institute as well as calligraphy classes at Central School of Arts and Crafts (Stuart-Smith). He loved his calligraphy classes so much that he decided to stop his architectural training and focus on calligraphy, letter-cutting and sculpting (“Font Designer- Eric Gill”). In 1904, he married Ethel Hester Moore and together they had three daughters (“Font Designer- Eric Gill”). Gill worked for multiple churches and other companies creating sculptures for their buildings. In 1924, Gill began his own company with the assis50

tance of Lawrence Cribb, who remains his assistant until Gill’s death in 1940 (“Font Designer- Eric Gill”). Gill produced works for many places such as Westminster Cathedral, London Electric Railway, Marlborough College, Leeds University, Gwalidor Fort, BBC, People’s Palace, Queen Mary University of 0SRHSR 4SWX 3J½GIW 4EPace of Nations, League of Nations and many more (Stuart-Smith). Mostly known for his typography and sculptures, Gill created a lot of his typefaces for his sculptures. However, his most famous creation is his typeface called Gill Sans. He is associated with the

Mostly known for his typography and sculptures, Gill created a lot of his typefaces for his sculptures. Arts and Crafts Movement of 1860 (Obinski). Although the name was not coined until 1887, it started in the British Isles

and quickly spread across Europe and North America. It represents traditional craftsmanship, simple forms, medieval, romantic or folk styles and incorporated social reform (Obinski). However, it was his art

Gill had sexual obsessions with adultery, incest and pedophilia. that made him famous. His works combine religion and eroticism and were very taboo in the eyes of the pubic. It was later revealed (after his death) that Gill had sexual obsessions with adultery, incest and pedophilia. He kept record of all his sexual activities in a journal. Each passage was written in great detail including the sexual abuse of two of his daughters, a sexual relationship with his sister and with his dog (“Skeptical Artists.”). This caused and uproar because people did not want the work of a pedophile to be displayed in cathedrals around England. People began to look at each of his works as if it had the

word incest carved all over it (“Skeptical Artists.”). Although, in retrospect, this only made Gill more famous. Everyone wanted to see the work of the pedophile (“Skeptical Artists.”). In 1936, Gill was named Royal Designer for the Industries. He received the award for his work in typography and wood engraving. Shortly after, he became on of the founders for the Faculty of Royal Designers for Industry (Andrews).

Refrences “Skeptical Artists.” Polanski, Gill and Morality; Should we look at Artists or their Art ?. Art Commentary, 03 Nov 2013. Web. “Font Designer- Eric Gill.” Linotype. Monotype GmbH, 18 Feb 2008. Web. Obinski, Monica. “The Arts and Crafts Movement in America.” The Metropolitan Museum of Art. The Metropolitan Museum of Art, n.d. Web. Andrews, Melanie. “The Royal Designers for Industry.” RSA. Action and Research Center, n.d. Web. Stuart-Smith, Stephen. “Eric Gill.” TATE. Oxford University Press. Web.

Eve Nuptials of God

The Domestic Hose

Ecstacy

East Wind

8LI 'VYWM½\MSR

The Parson’s Tale

Sculpture 51

Capt ions Right Top Headl ine - P22 Johnst on Underground regul ar weight . Right Middl e Image - Sect ion f rom an anonymous post er, 1920. Lef t and Right Numbers - Al phabet by Edward Johnst on f or t he Underground Rail way, 1919. Lef t back ground - Drawing of proport ions f or Johnst onís roundel , c1925. Right right bot t om - Book Writ ing and Il l uminat ing and Let t ering (1906) Right right middl e - Johnst on Sans print ing bl ocks

Ref erence Meggs, Phil ip B., and Al st on W. Purvis. ìMe ggsí Hist ory of Graphic Design [Hardcover].î Meggsí Hist ory of Graphic Design: Phil ip B. Meggs, Al st on W. Purvis: 9780470168738: Amazon.com: Books. Wil ey, John & Sons, Incorporat ed, 22 Nov. 2011. Poul in, Richard. Graphic Design Archit ect ure, a 20t h Cent ury Hist ory: A Guide t o Type, Image, Symbol , and Visual St oryt el l ing in t he Modern Worl d. Beverl y, MA: Rockport , 2012. Print .

EDWARD JOHNSTON In 1979, a Japanese graphic designer named Eiichi Kono redesigned t he t ypef ace f or London Underground, which t ypef ace creat ed by Edward Johnst on in 1916. Bef ore t hen, t he same t ypef ace design had been used f or 63 years. Edward Johnst on, who was born1872 in Uruguay and died1944 in Engl and, was a t eacher of Cal l igraphy. He basical l y worked at London. His f amil y moved t o Engl and, and he st udied medicine at t he universit y of Edinburg in t he Unit ed Kingdom. Af t er obt aining his Ph.D., he went t o London t o st udy ancient writ ing st yl es. Johnst on t hen st art ed t eaching at a publ ic school of art s and at a graduat e school of art s, where bot h of t hem l ocat ed in London. In 1906, his book t it l ed ìW rit ing and Il l uminat ing, and Let t eringî was publ ished. Edward Johnst on, who creat ed Johnst on sans al so known as Underground t ypef ace, was considered one of t he most import ant t ypef ace designers graphic designer st udent s have t o l earn and know since he inf l uenced many t ypef ace designers and cal l igraphers in t he earl y t went iet h cent ury, gave new direct ions f or t ypef aces t o t hem, and caused of t he modern t ypography revol ut ion. Edward Johnst on was known f or t he sans serif t ypef ace of t he London Underground, known as Johnst on sans or Underground, in 1916. He worked on t he t ypef ace design wit h one of his st udent s named Eric Gil l , who devel oped t hat t ypef ace and creat ed t he sans serif t ypef ace named Gil l Sans a decade l at er. He was request ed t o design a new t ypef ace wit h bol d simpl icit y, and t he new t ypef ace was supposed t o be shown and added a new el ement combined int o ol d t ypef aces. He t hen creat ed a sans serif s t ypef ace, which each weight of st rokes and t heir proport ions were in t he same way. He al so made each f orm of l et t ers as simpl e as possibl e since Johnst on was t hinking about cl arit y and f unct ion of t he t ypef ace. For exampl e, t he M is a exact square shape so has t he diagonal l ines l eaned f ort y-f ive-degree, which exact l y encount er in t he cent er of t he l et t er. The O is designed as an accurat e circl e. The l ower case i and j have diamond shapes on each t op of l et t ers inst ead circl e shapes most t ypef aces has. There is not conf usion bet ween t he Capit al I and t he l ower case l in t his t ypef ace because t he smal l l has a t ail on t he bot t om. Edward al so designed sign and l ogo of t he Underground, pl acing his new t ypef ace col ored whit e on a bl ue t hick l ine in f ront of a red circl e. This l ogo design has used f or London Underground since he creat ed. The designerís st yl e of Edward was cat egorized as t he genesis of t went iet h cent ury design because Edward t ried t o creat e a new t ypef ace t o t he worl d, adding a new st yl e in order t o break ol d st yl e, and his cal l igraphy inf l uenced t he earl y t went iet h cent ury t ype designers such as Eric Gil l . Edward Johnst on is wort h l earning how t he t ypef ace was import ant as graphic designer st udent s because he inf l uenced one of t he most f amous cal l igraphers, who inf l uenced many cont emporary t ypef ace designers of beginning of t he t went iet h cent ury and cal l igraphers in t he hist ory of graphic design.

01 ìAmbiguit y is one of t he great est f aul t s in a craf t .î

02 ìIt comes of t en f rom vague ambit ions.î

03 ìOne may be inspired by good ambit ions, but t he immediat e concern of t he craf t sman is t o know what he is capabl e of doing at t he present , and t o do it .î

IN SEARCH OF THE MIRACULOUS BY: Â HALEY Â CHAMBERS

The world is loud. In a world where you basically have to close your eyes to escape being bombarded by images, Graphic Designers are charged with the challenge to create meaningful and distinct images that will stand the test of time and speak out to people. Milton Glaser’s work does that and so much more. Have you ever seen the I Love New York logo? I would be willing to bet that you have. For decades Milton Glaser has been creating timeless and thought provoking images while continuing to speak out about the ethical questions that we should be asking ourselves.1 He is both an extremely talented designer and an eloquent and passionate speaker, presenting the truth in a way that makes you stop and think.

“ART IS WORK.�

“DAILY LIFE ASTONISHES ME.�

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It all started in New York City in 1929. Milton Glaser was born in the heart of the city and has since made a name for him there. After receiving the Fulbright Scholarship to study in Italy, he has started Push Pin Studios, the New York Magazine, taught at the School of Visual Arts for half a decade, and developed his own studio that is continuing to churn out work in corporate identities, interior design, packaging, and product design. He has done work for Jet Blue, Juilliard, Coach, and Donald Trump to name just a few headliners. 2 His work is internationally recognized and has been widely reproduced for decades. )JT TUZMF JT EJGm DVMU UP EFm OF .JMUPO (MB ser does not rely heavily on any particular style. As a designer, he points out, the goal is not to rely on a style of the

NPNFOU CVU UP m STU DSF ate a meaningful image that is appropriate for the topic and the audience and sometimes style factors into that. 2 Psychedelic qualities and bold colors mark some of his works and he places a great deal of importance on the use of drawing in design. 3 His style varies from piece to piece, changing and growing. It is his insatiable hunger for new and miraculous things that he attributes to his success.4 His work JT m MMFE XJUI DPMPSGVM playful drawings and illustrations that cause the mind to immediately begin running wild with ideas. Throughout past decades Milton Glaser has continued to wow his audiences. He continues to shine to this day, working through his studio in New York City, and has recently created an advertising campaign for the highly BOUJDJQBUFE m OBM TFBTPO of the hit Showtime series Mad Men, proving yet again that he is ev-

“ ACKNOWLEDGE WHAT YOU DO, WHAT YOU ARE, HOW YOU FEEL. �

ery bit as much of a relevant creative genius as ever. 6 He also continues to speak out widely on all matters ethical in the world of design and any number of his statements are more than noteworthy. He places a high responsibility with designers, as they move audiences to take an action. 1 Undoubtedly his career will continue to spark inspiration in millions of people everywhere. Endnotes 1. Debbie, Millman. “Milton Glaser Interview.â€? Design Matters. Design Observer Omnimedia LLC, 12 October 2010. web. 2. Milton Glaser | Biography. N.p., n.d. Web. . <http://www.miltonglaser. com/milton/#2>. 3. Glaser, Milton. Graphic Design. New York, NY: The Overlook Press, 1983. Print. 4. Glaser, Milton. “Ten Things I Have Learned.â€? . N.p., n.d. Web. . <http:// ZZZ PLOWRQJODVHU FRP Ă€ OHV (V VD\V WKLQJV SGI! *ODVHU 0LOWRQ ,Q 6HDUFK RI WKH Miraculous or One Thing Leads to Another. New York, NY: The Overlook Press, 2012. Print. 6. Kennedy, Randy. “The Trippy ’60s, &RXUWHV\ RI D 0DVWHU Âľ 7KH 1HZ <RUN Times. The New York Times, 6 Mar. 2014. Web.

(\H 0DJD]LQH Bob Dylan Mahalia Jackson Flying Harlequin I Love New York

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1.

2.

“become saturated with knowledge of the company“

60

3.

1. the Shining 2. The Fixer 3. In Harms Way 4. Vertigo 5. The Man with the golden arm

“ Paved the way for graphic design in Hollywood“

4.

Saul Bass was born in New York City on May 8, 1920 and lived until April 25, 1996. He is best known for the bold images and kinetic typography of his motion picture title sequences, but Bass is also famous for his intense minimalism shown in his film posters. (Saul Bass, AIGA). He attended classes at The Art Students League in New York and then took graphic design courses at Brooklyn College where his teachers taught him The New Swiss style. Under Gyorgy Kepes, a teacher that had immigrated from Central and Eastern Europe in the 30s and 40s, Bass learned that an effective design did not necessarily need to conform to societal values of the time (Megs). While the social realist designs of the American posters sold based on mutual view points like norms of female beauty, the constructionist approach of the New Swiss Style tried to sell through the companys or an individuals ideas. After some schooling he then left New York for California in the 1940s. He started out working in advertising until his first big break, when filmmaker Otto Preminger hired him to design the film titles for the 1954 film Carmen Jones (Designer Blog, 99designs. com). As this lead to more work he stayed true to his distinctive minimal style and innovated the role of title credits in these films. He is credited for epic film title designs thanks to his collaborations with Alfred Hitchcock, Otto Preminger and Martin Scorsese (Saul Bass, designmuseum.org). It was monumental for an artist such as Bass to make an impact in Hollywood; it finally brought graphic design to attention. This also brought Saul to the forefront of the sixties art movement and turned out to be game changing for his career. By introducing ideas from the New Swiss Style, Saul Bass made the film titles an important part of the cinema experience (Megs). The documentary Bass on Titles gave insight on how he approached each film title as a process with three points he would use just like he did in any design project. His first point was to become saturated with knowledge of the company. After this he wanted to make sure he understood the vision of the company and lastly, he did NOt try to symbolize a point of view (Saul Bass, designmuseum.org). During his time in the mid 20th century he also created an array of iconic References brand designs for large corporations. Some of these “Designer Blog.” Designer Blog RSS. N.p., n.d. Web. 16 Mar. 2014. <http://99designs. include Bell, Quaker, AT&T, Kleenex, Girls Scouts, aircom/designer-blog/2012/06/12/saul-bass-graphic-designer-of-a-century/>. lines and many more. It has been said that the averMeggs, Philip B. 6 Chapters in Design: Saul Bass, Ivan Chermayeff, Milton Glaser, Paul age lifespan of his design have lasted around 34 years Rand, Ikko Tanaka, Henryk Tomaszewski. San Francisco: Chronicle, 1997. Print. (Designer Blog, 99designs.com). He received an Academy Award for Why Man Creates in 1968, and the AIGA Neef, Sonja, Jose Van. Dijck, and F. C. J. Ketelaar. Sign Here!: Handwriting in the Age of New Media. Amsterdam, Netherlands: Amsterdam UP, 2006. Print. Medal, the American Institute of Graphic Arts highest honor, in 1981 (Saul Bass, AIGA). After reading ar“Saul Bass / - Design/Designer Information.” Saul Bass /- Design/Designer Information. ticles and researching Saul Bass I look at his caN.p., n.d. Web. 16 Mar. 2014. <http://designmuseum.org/design/saul-bass>. reer as a big contribution giving credit to the design “Saul Bass“ AIGA. N..p., n.d. Web. 14 Mar. 2014. <http://www.aiga.org/medalist saulbass/>. world and what good design is. He paved the way for graphic design in Hollywood, which made society “Saul Bass Poster Archive.” Saul Bass Poster Archive About Comments. N.p., n.d. Web. 16 Mar. 2014. realize the talent of graphic designers and their <http://www.saulbassposterarchive.com/>. impact. Doing so in Hollywood was monumental because it created a touch point to so many people. 61

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“the forefront of the sixties art movement “

THIS

PUBLICATION CONTAINS ESSAYS ON GRAPHIC DESIGN WRITTEN BY STUDENTS IN GRAPHIC DESIGN II IN SPRING, 2014. EACH DESIGNER CREATED THREE SPREADS: ONE SPREAD INSPIRED BY BEATTRICE WARDE’S 1955 ESSAY, THE CRYSTAL GOBLET; ONE SPREAD INSPIRED BY THE STUDENTS’ OWN ‘ANTI-CRYSTAL GOBLET’ MANIFESTOS; AND THE FINAL SPREAD IS INSPIRED BY A HISTORIC DESIGNER.

PAGES: 04  –  05  34  –  35  58  –  59 DESIGN  IS  THE  STRAW.  DESIGN  IS  THE  TOOL  THAT...  ALLOWS  FOR  SLOW  SAVORING  AND  TEASES  THE  CONSUMER  INTO  WANTING  MORE.

or idea. Creative, bold and even quirky designs are often necessary to create the entire concept being conveyed and are not a distraction contrary to Warde’s beliefs. A design can often be used to relate the message being conveyed. An intricate design will catch the viewer’s eye thus leading them to further read into the content it beholds.

HALEY CHAMBERS

I

N The Crystal Goblet Manifesto, Beatrice Warde’s main arguments are central to communication. She says printing is the invisible window to the content. Ornamentation and decoration are tools used to degrade the quality and voice of a text. The Crystal Goblet is an excellent wine glass. It serves as a simple vessel in which the more important liquid can be easily observed. In the same way that the thin, crystal-clear glass doesn’t do anything to detract from its purpose, great design should yield to the more important issue of clarity of communication.

Following Warde’s metaphor, one cannot fully appreciate wine by seeing it through a simple crystal goblet. The true pleasure of enjoying wine comes not only from smelling and tasting the wine, but also from drinking the wine surrounded by friends in a comfortable chair in a relaxed setting. It takes all of these factors to create the ultimate experience. If one or more of the elements are missing, the experience can be enjoyable but not the best. This being said, a goblet that is unique in design and color is more appealing to the eye compared to a simple crystal goblet. The pleasure of drinking from an intricate or uniquely designed goblet will make the experience more enjoyable. At that moment, the wine will complete the experience of a rich design. The feeling of having or using an extravagant item will make one feel more important.

There is something fundamentally wrong in the crystal goblet metaphor for design. Design is not simply about the glass or the cup anymore than a layout is about the boring thin white paper its printed on. Design is the straw. Design is the tool that the conVXPHU XVHV ZLWKRXW HYHQ NQRZLQJ WR JHW D PRXWKIXO RI à DYRU DW D time. Rather than bombarding them by force--feeding the entire beverage down their throat at one time, the straw allows for slow savoring and teases the consumer into wanting more. It guides them through their drinking experience by piercing through the OLG DQG SXOOLQJ WKH à DYRU SDFNHG à DYRU VWUDLJKW WR WKHLU PRXWKV in an easy to handle sip of explosion. That’s an ornamented point of emphasis if you ask me. Its about presenting the consumer with the information effortlessly and clearly through moderation and careful planning. Simply presenting the idea as a whole is a mountain of an undertaking for anyone. You don’t have to look too closely to realize too much of anything is a bad thing. Presenting a page full of daunting paragraphs to your audience isn’t going to go very far.

Likewise, it is the total typographic experience that enables the reader or viewer to fully visualize the concept or message being communicated. The design or selection of type is extremely important. Use of a fancy font can be more appealing to the reader, however, a font that is too LQWULFDWH ZLOO EH GLIÀFXOW IRU WKH UHDGHU WR IRFXV RQ IRU D ORQJ SHULRG RI time. Likewise, a font too simple will receive a boring reaction from the reader. For instance, a font that is bold and large will be more appealing and catch the attention of the viewer’s eye. In comparison, a font that is standard becomes bland. For a reader, the font used should relate to the message it is portraying. Typography should not be invisible as Warde wanted us to believe. In fact, typography should be fully utilized to help convey the message intended. Although some situations may require a simple small font, other situations may require a more intricate design or a large bold font to adequately attract the reader and convince them to explore the entire message or to convey the texture or atmosphere of the product involved or story being told. For these reasons, an invisible approach to typography, as stated by Warde, is not necessarily in the best interests of the typographer, the client, or the message.

In Warde’s metaphor, she is equating the essentials of good design to the clarity of the entire message. Although clarity is essential, this is missing a very important part of what design means to the audience. It’s what catches their eye without them noticing and guides them through WKH PDWHULDO :KHUH :DUGH SURWHVWV WKH XVH RI DQ\ H[WUD à RXULVKHV , would advocate that they are at the core of the system we all take such great care in creating. Emphasis creates simplicity. It doesn’t detract from it. In order to achieve it and to create a guide that leads the audience you need the partnership of clarity and distinct marks, rather than complete invisibility.

PAGES: 10  â€“  11 38  â€“  39 48  â€“  49 THE  TRUE   PLEASURE  OF  ENJOYING  WINE  COMES  NOT  ONLY  FROM  SMELLING  AND  TASTING...   BUT  ALSO  FROM  [BEING]  SURROUND-­ ED  BY  FRIENDS  IN  A...   RELAXED  SETTING.

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MANIFESTOS

LEAH BAKER

I

N The Crystal Goblet, Beatrice Warde states that typography should be invisible. The use of fancy fonts, heavy or large fonts, etc., can distract from the message trying to be conveyed. I believe this idea is wrong. There are situations and ideas that need to be presented in a simple non-distracting way. However, other circumstances require or even demand a fancy script or bold and large fonts. Such strategies can catch and hold a person’s interest and create a desire to read and learn more. Type design, selection and layout are used to convey more than the idea or message. They can convey the atmosphere or context of a product

PAGES: 16  –  17 26  –  27 52  –  53 WHEN  ONE  TAKES   ILLUSTRATION  FROM   THE  EQUATION  OF   TYPOGRAPHY  LAYOUT  THEY  REMOVE  THE   POTENTIAL  FOR   INDIVIDUALITY...  WHICH  LEADS  TO   GENERALIZATION.

GRANT MATTHEWS

T

HE vessel that carries a message should be as vibrant and the idea that it is portraying. From book layout to the design of advertisements and websites the actual design of each should be prominent and completely visible. To take away would take away from the over all design of the text therefore changing how it could be viewed. The text is LQĂ XHQFHG E\ ZKDW VXUURXQGV LW ZKHQ VHHQ E\ DQ DXGLHQFH :KHQ RQH VWULSV DOO DHVWKHWLF YDOXH IURP D OD\RXW LW Ă DWWHQV LW DQG WDNHV LWV LQGLYLGXality and leaves it as just another group of text. Within the Crystal Goblet Manifesto it is stated that the layout of any kind of text should be designed so it has no interference with the text contained within it. This act changes the way that an audience could and will view and read the text. When one adds design, minuscule or large, if done well,

PAGES: 02  â€“  03 22  â€“  23 56  â€“  57 WHEN  ONE  TAKES  ILLUS-­ TRATION  FROM  THE   EQUATION  OF   TYPOGRAPHY   LAYOUT  THEY   REMOVE  THE  POTENTIAL  FOR  INDIVIDUALITY...  WHICH  LEADS  TO  GENER-­ ALIZATION.

will direct the eye of the audience in a direction that the designer pleases. 1RW RQO\ GRHV WKH DGGLWLRQ RI JUDSKLF HOHPHQWV WR WKH OD\RXW RI WH[W LQĂ Xence its entirety, it makes it better. Without these elements the message would change in a negative way. A layout including text should include graphics that reinforce the idea and over all message of the text. These graphic elements helps shed a new and more colorful light on a group of plain text in the middle of a space.

In the Beatrice Warde’s manifesto, she argues that legibility is more important than readability, so she recommends that graphic designers have to use simple typefaces in order to lead viewers to get interested in contents of works well. However, my opinion is that graphic designers have to choose complicated typefaces like calligraphies if they really want to lead audiences to get interested in their works deeply. I am willing to choose a well-decollated goblet.

7KH DGGLWLRQ RI JUDSKLFV JLYH WH[W D GHÀQLWH SODFHPHQW LQ D FRPSRVLWLRQ RU layout. It gives the text a certain level of purpose beyond what the words say. When a body of text lacks any kind of graphic element the audience of the text will begin to generalize it because of its lack of aesthetic value. As one begins to take away illustrations or pieces of art from the layout of their designs they start to take away from the over all individuality of the entirety of the piece. As the audience starts to generalize a design the don’t really care about the message that the text is trying to convey. Instead of the layout being something the audience will remember they label it as another plain document that they either discard or forget about. In reference to the metaphorical side behind the manifesto the goblet made of gold is not meant to take away from the wine that it holds but instead the embellishment is used to enhance the layout and back up the message being shown. One should make decisions when it comes to the layout by always thinking about how the illustrations they are incorporating into the design and how they strengthen the composition as a whole. When one takes illustration from the equation of typography layout they remove the potential for individuality as a design which leads to generalization of the design. To make the best layout one must be conscious and learn to use designs and external elements to enhance the text present.

ERICA WALTON

KENDAI OKADA

C

RYSTAL Goblet is an interesting manifesto written by Beatrice Warde in 1955, in which she insists on her belief about how to communicate with audiences visually. Her argue is readability versus legibility in graphic design, especially typography for printing works. She thinks any contents, which is even good, are less important than how they are showed to audiences in order viewers to want to see contents of their works more. In her manifesto, she compares two wine goblets, one of which is too well decorated to see inside of a glass and is considered for an amateur and the other of which is crystal transparent to clearly see through inside of it and considered for a connoisseur as a metaphor. She says graphic designers always have to keep in their mind to pick up the latter goblet. Even though her statement sounds true and seems to be well proved enough for readers to agree with her, I have an opposite idea against her. My opinion is that readability can be more considered a good element than legibility for visual communication WKURXJK DUWZRUN DQG LW PDNHV D VWURQJ ÀUVW FRQQHFWLRQ WR FRPPXQLFDWH with audiences. In order to do so, the best way is taking an opposite style against the way, which Warde suggests in her manifesto; Graphic designers have to make their works looks complicated and make viewers evoke even feeling uncomfortable because people tend to get interested in works more and have to communicate with works when seeing something hard to understand. When people feel uncomfortable while reading books, watching movies, or looking at artwork in their daily life, they cannot help communicating with works because of human mental mechanism. It is called cognitive dissonance in psychology. When people see contradiction that is hard to understand and hard to explain well, they tend to add new information as excuses, which can give good answers in their mind. For example, even if someone knows smoking is bad for health but cannot quite, someone is going to consider smoking is good for reducing stress. Same as this, when people see too complicated visual artwork to understand well because of lack of legibility, they have to come up with any excuses to answer well enough to prove themselves such as that this looks terrible, but this might be art. The feeling then is memorized in their mind as one of uncomfortable experience. Excuses might work ZURQJ ZD\ VRPHWLPHV LI WKH\ FKDQJH WKHLU PLQG OLNH WKH\ DUH FRQÀGHQW they have a good enough sense to tell distinguish what makes beauty in graphic design, but there is a few I met in my life.

PAGES: 18  –  19 30  –  31 42  –  43 GIVEN  THE  TWO  OPTIONS,  YOU  ARE  MOST  LIKELY  TO  PICK  THE  BURRITO.

I

MAGINE that you are hungry for ground beef. You don’t really care how or what form you want ground beef, you simply know that you want to eat it. Let’s say you have two options. You may have ground beef, just straight up on a plate to eat. The other option is two have a EXUULWR Ă€OOHG ZLWK JURXQG EHHI WKDW¡V EHHQ VHDVRQHG DQG PL[HG ZLWK WRPDWR OHWWXFH DQG VRXU FUHDP ZUDSSHG XS LQ D Ă RXU WRUWLOOD *LYHQ WKH two options, you are most likely to pick the burrito. Why? Because the meat alone, though it’s exactly what you want, is boring. Its presentation can’t be very well either. A pile of loose brown matter, or a hot tortilla Ă€OOHG ZLWK GHOLFLRXV EXUULWR LQJUHGLHQWV $V KXPDQV ZH RIWHQ DSSUHFLDWH things for more than their face value. Design works like all the other parts of the burrito. The meat and the other ingredients work together to create something new that is itself a unique thing, with a taste that different than just plain beef. This is how design works. Design is used to present ideas to us in a way that we both take away meaning as well as a feeling. Design exist to make content more accessible rather than just hand us hamburger meat on a plate. How can we then see this idea work in design? Let’s take for instance, the designing of my personal letterhead. The content that’s going into this is simple, my name and basic contact info, my hamburger meat. I could just simply put this info on a piece of paper and be done. The content is there and getting its message across. However, if I maybe add color to my type, and maybe pick a unique typeface, this content starts to take on new life. It becomes interesting and now holds new meaning than just the content itself. The Crystal Goblet suggests that the meaning of the content is supreme to all, and should be the focus. But this is assuming that all content has an explicit meaning that stands for itself. My name for example, is simply just a name. It is only through design elements that it begins to take a shape, a meaning. The Crystal Goblet also suggests that thinking rather than feeling is the key to designing. I disagree with this. Thinking is an important part of designing. But designing is also not a complete left process devoid of feeling. Feelings are what make content accessible to people. The content can take on a feeling of its own, though it also cannot. In either situation, the use of design elements can help instill these feelings, making the piece as an overall more accessible, and enjoyable for whatever audience it is presented to. 'HVLJQLQJ LV D SDUWQHUVKLS QRW D GLFWDWRUVKLS $ JRRG GHVLJQ Ă€JXUHV out to create a partnership between content and design elements, rather than being dictated and ruled by the meaning of the content. Again, I pull us back to the burrito. The burrito is the combination of meaning things, the child of the ingredients partnership together. The elements work together to create an object that now has its own meaning and feelings. The meat that we originally craved now means more than just meat on a plate. It’s now a meal, and we will forever remember and think of it as such. The burrito itself holds a place in our mind, more meaningful and purposeful than just the meat. It is in this way that design works, as burrito ingredients. Overall, as humans, we are not content with just the content (Pun accidently intended). Would I eat hamburger on a plate if given to me? Sure, it’s still yummy delicious meat, why not? But if given the choice of a burrito or just the meat, which am I going to choose? The content is not all that’s important to us. We notice the package, the presentation. We make memories around it and create feeling of it. This is designs place. To add the display of content, not distract from it. Being invisible is not adding, its hiding. Through partnership of the ingredients, we can have a kick ass meal, and not just some hamburger meat on a plate.

MANIFESTOS

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PAGES: 14  –  15 28  –  29 50  –  51 DOING  SOMETHING   COMPLETELY  DIFFERENT  CAN  MAKE  A  HUGE  IMPACT  ON  THE  WAY   YOUR  WORK  IS  VIEWED.

SCHYLER GARTON

,Q FRQFOXVLRQ , ÀQG WKH PHVVDJH RI D GHVLJQ WR EH PRUH LPSRUWDQW WKDQ what is used to create the design. These aspects are supposed to be used to strengthen these messages and even help us to understand the message or what type of message it is before really studying the design itself.

I

N today’s society, everything is all about looks. You are told how to look, how to talk, how to dress, and even how to eat. But why does all that matter? Why do we have to be told how to look? What makes someone think that they are in charge of how everyone looks? Looks are not the most important aspect of anything. Just like the cover is not the most important part of a book, or a shoebox the most important part of the shoes....it just a small part of it. How about this, let’s say you’re making a salad. You start off with a fresh bed of spinach greens. Next you add some carrots, maybe a little broccoli and even a few mushrooms. Lastly, you top it off with some croutons and a splash of honey balsamic vinaigrette dressing. It is kind of beautiful, right? But wait! You forgot to add the cheese...and you really like cheese. Therefore, you just pile all the cheese on top until you can’t even see the beautiful salad you created underneath it. Why does that matter though? It is still a salad and it still tastes pretty amazing if you ask me. All that cheese on top is what made it your salad. You made it for yourself. It is yours. When someone looks at your salad, they’re going to remember it, trust me. When they think back to your they will remember that your so called “saladâ€? was just a giant pile of cheese. Then there you are, with your now totally XQKHDOWK\ ´VDODGÂľ Ă€OOLQJ \RXUVHOI ZLWK FRPSOHWH GHOLFLRXVQHVV <RX DUH IXOO\ VDWLVĂ€HG ULJKW"

PAGES: 08  –  09 24  –  25 60  –  61 IF  YOU  CHOOSE  THE   GOBLET  YOU’RE   EMBRACING  THE  BEAUTY  OF  THE  GOBLET  ITSELF  AND  WHAT  IT  ACTUALLY  CONTAINS....

06  –  07 36  –  37 46  –  47 THE  DESIGN  ITSELF  IS  IMPORTANT  TO...  BRING  ABOUT  CERTAIN   EMOTIONS  THAT  THE   DESIGNER  WANTS  THE  VIEWER  TO  FEEL....

Good print design and typography are very valuable to the corporate world and selling products. Someone could potentially have the best type content for an advertisement but without designing it or using creative typography how does that product set itself apart from the next. This is how we must look at print especially in a society with constant LQQRYDWLRQV DQG QHZ VW\OHV .HHS LQ PLQG LW¡V WKDW Ă€UVW LPSUHVVLRQ RI what we see that will appeals to us in our minds. To have a successful print it must come to life and trigger the senses of the viewer. Above all SULQW PXVW EH UHDGDEOH Ă€UVW DQG VHFRQG VHW LWVHOI DSDUW ,Q D ZRUOG IXOO of countless styles and fonts no company just wants to blend in, every brand wants to set itself apart on print. Do you want the generic clear wine glass or do you choose the golden goblet that sparkles when the light hits its crystals. I ask that as designers we keep in mind the simple universal ideas. One, all prints are created readable, two all prints have an aesthetic plan to appeal, and three this plan is backed up with reasons why it is the way it is. Combined in these ways print can be made in dynamic and eye-catching ways yet stay completely functional at the same time.

TORI JACK

I

BELIEVE that the main goal of graphic design should be to get a message or idea across. While it is important to have something that is easy to read or nice to look at, I would say the message that is shown through these features are what make a design strong. The aesthetics of the design should come second. The way the design is made should back up the ideas behind the message, itself. If a poster is put up to show caution and warn the viewers of nearby danger, pretty cursive type fonts and purples or blues would not catch the viewers’ attention that there I something nearby that could be harmful. Here, it would be more important to show colors that are seen as cautious like yellows or reds, and have a big bold font to help get the message across. Anyone who sees this will become aware right away that this is something that is important for them to see, successfully getting the message across to them.

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The design itself is important to bring this message or idea across by using aspects that bring about certain emotions that the designer wants the viewer to feel when looking at their piece. If you are designing a promotional piece for a tragic movie, you would want to bring out sad emotions with your viewer. Again, color is a good example on how to do that. Cool colors, like blue, are usually seen as “sad� colors, or part of that color scheme. Red or orange, could bring about emotions like anger or hate.

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The type of font used could also strengthen a message. A thick, bold W\SH FRXOG VKRZ LPSRUWDQFH ZKLOH D WKLQ DQG Ă RZLQJ W\SH FRXOG VKRZ elegance or grace. Both could even be combined for something that involves royalty for example.

I

MAGINE an extravagantly decorated gold and gem encrusted crystal goblet next to a clear generic glass of wine. It is simple what the human eye is attracted to. Yes, the purposes of these objects are to hold a rich wine, but it is what beholds the wine that enhances it and makes it more appealing. We already know what is in both glasses as they stand. The content of each is the same, it is our human instinct to gravitate towards what we see as more appealing. If you choose the goblet you’re embracing the beauty of the goblet itself and what it actually contains where as the wine glass shows the wine within in plain and as it is. In the sense of print this compares how type choices and designs will enhance the content of a clear message that is being conveyed. When reading a plain print compared to another with well-executed typography the viewer will gravitate towards what is more attractive. You must catch the eye on print to sell what these words mean to the viewer. Many WLPHV UHDGHUV ZRQ¡W HYHQ VWRS WR ORRN DW D SULQW LI DW Ă€UVW JODQFH LW LV plain. This will make the difference when selling a product or service. You have a black and white poster in front of you in a dull generic font. Next to it is a poster that is dynamic and uses color. Obviously we must keep in mind the purpose of print is to be readable, but typographers for years now have achieved readability along with aesthetic appeal. A good type embodies the meaning and feeling of the print and portrays that in the mind of the reader. It’s no secret society’s norms are based on what is popular, what’s attractive and how to have a good image. This generally applies to everything we buy and own. Why not print?

How is this relevant to design you ask? It is very simple. Designing something is about making it memorable and making a statement with it. Doing something completely different can make a huge impact on the way your work is viewed. If you take chances and do your work the way that makes you the happiest, people will remember it. Maybe not everyone will think it is the most beautiful thing they have ever seen, but it sure will catch some attention. And in the end, it is making you smile. There will always be someone out there that does not like the way you do things, but that is just a part of life. Different people like different things.I do not like tomatoes, but my sister loves tomatoes. That does not make tomatoes bad for you. Just like I love the color yellow, but my sister despises the color yellow. But that doesn’t mean that the color yellow is ugly, right? Right! It is impossible to please everyone. So that’s why you should make things you like that make a statement. If you like cheese, the cover it in cheese. Your message that you love cheese is very clear. Thats how your work should be. Its not all about how great something looks. It is about how clear the message in your work is transferred.

PAGES:

RACHEL RITCHEY

PRINTED BY: newspaperclub.com

CHRIS THEARLE SARAH RAMEY

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