*tieu springsp

PRINT & DESIGN

JUNE 2015

The illustrative, high-speed photography of

alberto seveso WWW.INKMAGAZINE.COM

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PRINT & DESIGN

Ink is an iconic design and visual culture brand encompassing a venerated magazine, a website, premium book and e-book lines, and the Regional Design Annual, one of the most well-respected design competitions in the industry.

Founded in 1940, Print seeks to build a dialogue about design by detailing the intersections of art and culture.

Rather than focusing on the how-to of design, the experts who write for Print cover the why—why the world of design looks the way it does, how it has evolved, and why the way it looks matters.

To fulfill its mission, Print focuses on a broad stroke of visual culture today, covering everything from publication design to interactive work, motion graphics, corporate branding, exhibitions, illustration and socially conscious design.

Print is sophisticated. Bold. Distinguished. Experienced.

Savvy. The longest-running stateside graphic design publication, it has won five National Magazine Awards— the industry’s highest honor.

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EDITOR’S LETTER

capturing moments Erum labo. Et et hillab il inctiis doluptatem eatem etum quassi con ra quisto et alit, omnimporpore iusdande cuptior uptaspid ut eturi dolessus non re sunt alit quid que non re pratiusam quiandant.

Totate la sum, ut quo blaut aut porem ium sinvelique sit alibus eum is maio moluptatis nos molendit ratent etur sit, sum verum res nim et mi, cum rem fuga. Ebit, si as estiosaped molut vollacerit rerum haria nam, quod molores sinctur ad ea nate il modi quidi niendention preium quatem evendit etur, quati conem rectati nullum facia quatesed quatium estiossentis endaeperit res audamus citat.

Facercil id eosam, veliscim volut que vellorios perat.

Eventiurio. Dem et hil moluptatatem ius, te vel inctios cum quoditemquia quodio velia quibus mo id estint reperen empore expelitio ommoloribus sum acipsunt reris et vera conserrore molo ipsa vollabores inus dis modipsam expla suntinci aut lam faccumq uatinci aectota spercipis solore aperum exeri dollaborem fuga. Rem sit occus ressi corenimincto maximpos niates everit eiusdae volendi sciduci atioriae dis si sed et, quatetur rest, sectisi nvelectur?

Tur? Quiberia vitatius et ipiet haris ipsae maiorpos acea cum fugiatus et quae ra doluptat.

Is et ini simusam, cus venimpos eatur, excernatium aceraep elecepe volorep tatecae pernatatur aliquam, esequi optatur? Bore eum is sunt eumquos andaepe rspedis ut ma venis vernatur aciaspe ditibusae cone volessunt am laboren imolorrovit re prore odit facipsa nimporrovit quas aut audigendem eum rempore ipid ersperiaes alition non nest et eos volessecaest expellu ptatemp oriant autature debiti qui ute porum conse re et lia si comnihit odit, nit aut anda nimusanim que re vent, ut odis incil magnatur aut aditi dolorem sum, suntius idignia temquid moluptati que sit accatecate iniet asi sam rate offic tota de nis quam haribus velit od ut as restisin praturit, qui laboren imolorrovit re prore odit facipsa nimporrovit quas aut audigendem eum rempore ipid ersperiaes alition non nest et eos volessecaest expellu ptatemp oriant autature debiti qui ute porum conse re et lia si comnihit odit, nit aut anda nimusanim que re vent, ut odis incil magnatur aut aditi dolorem sum, suntius idignia temquid mo-

Kimberly Tieu EDITOR IN CHIEF

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Opierorisse intifere ne caperdi publica essilne quonteatinte no. Gerobus inat. Helvetica Neue (TT) publica essilne quonteatinte publica

Dear readers,

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PHOTOGRAPHED BY DAVID MUNNS

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INK JUNE 2015

PRINT & DESIGN 3 editor’s letter

Introduction by Ink magazine’s Editor-in-chief Kimberly Tieu.

7 fruitography

Photography tips and tricks when working with fruit by David Munns.

19 summer & design of summer 2015 FIDM’s 5th floor windows celebrate the surreal work of Elsa Schiaparelli.

20 alberto seveso

Understanding the process of photographer Alberto Seveso’s high speed photography with ink in water.

10 windows into the surreal

28 richard avedon

13 why print matters

36 type over time

14 pens & tools

40 the last drop

FIDM’s 5th floor windows celebrate the surreal work of Elsa Schiaparelli.

As marketers’ investments in print advertising continue their steep decline, experts explain the medium’s relevance in the digital age.

Product page with Ink staff’s monthly favorites and suggestions.

Fahey Klein presents a major retrospective of the photographers work.

A look back into memory lane with how Ink magazine’s typography has changed over the many years.

Photography with David Munns

w e i v r e t n i s u bon o t r e b l a h it w is seveso and h ey upcoming disn project!

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PRINT & DESIGN

EDITORIAL

TULSA KINNEY PUBLISHER/EDITOR IN CHIEF SHERYL SCOTT ART DIRECTOR CARRIE PATERSON ASSOCIATE EDITOR JOHN TOTTENHAM COPY EDITOR/POETRY EDITOR JOHN SEELEY PROOFREADING, COPY EDITING EZRHA JEAN BLACK STAFF WRITER MITCH HANDSONE NEW MEDIA DIRECTOR

ADVERTISING

KAREN ROSNER ASSOCIATE PUBLISHER BEN ALLANOFF SALES

CONTRIBUTORS

ANTHONY AUSGANG • BETTY ANN BROWN • SUSAN BUTCHER • CAROL CHEH • DEWITT CHENG • SCARLET CHENG • LUCA CELADA • JACK CHIPMAN • ANDREA FONTENOT • PETER FRANK • LIZ GOLDNER • GORDY GRUNDY • GLENN HARCOURT • SETH HAWKINS • TYLER HUBBY • VICTORIAL LOOSELEAF • ANNE MARTENS • BARBARA MORRIS • NADIA LILI • CHRISTOPHER MICHNO • TUCKER NEEL • JOHN DAVID O’BRIEN • ELWYN PALMERTON • CHARLES RAPPLEYE • FRANK RODRIGUEZ • ERIC MINH SWENSON • ANURADHA VIKRAM • CAROL WOOD • EVE WOOD • JODY ZELLEN NEW YORK BUREAU: JOHN HABER • STEPHEN MAINE • SEPH RODNEY • SARAH SARGENT • BANSIE VASVANI

COLUMNISTS

SKOT ARMSTRONG BUNKER VISION STEPHEN J. GOLDBERG ART BRIEF JOSH HERMAN CURFEW SUE HUBBARD LONDON CALLING ROBYN PERRY PRIVATE EYE ZAK SMITH DECODER KURT THOMAS THE POSEUR MARY WORONOV RETROSPECT

PO Box 26234 Los Angeles, CA 90026 Editorial 213 250 7081 Advertising 310-429-2134 *We want to hear from you. Send a letter or comments to editor@inkmagazine.com.

To submit artwork: send samples with cover letter to artwork@inkmagazine.com Ink is a registered California LLC co-founded

by Kimberly Tieu and Charles Rappleye

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This device has not been authorized as required by the rules of the Federal Communications Commision. This device is not, and may not be, offered for sale or lease, or sold or leased, until authorization is obtained.

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INK JUNE 2015

create

WHO what why

fRUITography WITH David Munns T

WRITTEN BY KIMBERLY TIEU

here is a lot of food photography on Instagram these days. A lot.

Unfortunately, most of it is not-so-great, and the really good stuff can easily get lost amongst the clutter. But having worked on food packaging in the past, I do have a huge appreciation for the art of food styling and photography. And for people who turn food into a work of art.

Julie Lee does just that. Her Instagram feed is full of incredibly beautiful food collages. Her work is crisp and fresh, simple and rhythmic. Full of meticulously arranged patterns of fruits, vegetables and greens that are bursting with color and flavor.

Julie Lee is a self-taught photographer, food stylist, and editor based in Los Angeles. Her food collage photography series is inspired by the beauty of nature and local, farm-to-table eating. Her photography was recently featured in the Flowers for the Moon group show at The Standard and named 100 Best of 2013 by Saveur magazine.

Julie finds most of her ingredients at the Saturday Santa Monica Farmers Market, or in her own urban garden. But never from a store. All photos are shot in her kitchen, which she says is not “fancy” but has a lot of natural light.

If you’re a fan of Julie’s work, you can follow her blog, and you can also purchase prints of her food collages at www.julieskitchen.me.

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WHO what why

Yogurt

pancakes

INGREDIENTs - - - - - -

150 g spelt flour 1 tsp baking powder 250 ml greek yogurt 2 eggs 3 tbsp melted butter 2-4 tbsp maple syrup or clear raw honey - 4 tbsp desicated coconut - olive oil - raspberries - 50 g melted dark chocolate Cupcake ipsum dolor sit. Amet cupcake toffee I love fruitcake cake. Tootsie roll pie liquorice jelly-o chocolate soufflé pie. Toffee macaroon sweet icing bonbon apple pie gummies soufflé powder.

Soufflé liquorice gingerbread. Bear claw carrot cake marshmallow brownie dessert I love muffin marzipan danish. I love tootsie roll jelly beans jelly beans dessert chocolate bar toffee caramels fruitcake. Sweet roll liquorice tart wafer. Apple pie gummies caramels.

Chocolate jujubes sweet.

Tart pastry chocolate cake lemon drops icing chocolate cake sweet.

Tart candy canes jelly-o.

Pudding icing gummi bears I love cheesecake oat cake jelly.

Gummies gummi bears I love sesame snaps apple pie pastry pie. I love cheesecake apple pie bear claw. Muffin pudding bonbon. Brownie chocolate I love jelly beans cotton candy I love donut. Sesame snaps sesame snaps I love lollipop cotton candy caramels chocolate. Candy canes icing macaroon caramels jujubes apple pie I love. Biscuit chupa chups gummies dragée jujubes I love. Cake I love soufflé sugar plum. Jelly-o chocolate bar gingerbread. Apple pie fruitcake carrot cake marzipan jelly I love chocolate cake I love topping.

Bear claw donut I love cupcake jelly cake brownie I love chupa chups. Halvah tiramisu jujubes I love. Dragée wafer sesame

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INK JUNE 2015

snaps ice cream sesame snaps cheesecake jujubes. Chocolate cake I love muffin topping toffee apple pie gingerbread marshmallow sugar plum. Chupa chups I love I love halvah tiramisu chocolate cake apple pie. I love chocolate donut. Oat cake gingerbread marshmallow. Ice cream donut croissant candy

cotton candy. Bear claw candy canes tootsie roll cotton candy marzipan jujubes jelly beans. Jelly apple pie fruitcake I love chocolate. Pudding candy halvah liquorice brownie.

Wafer dragée pastry sesame snaps fruitcake dessert dragée I love. I love cupcake bonbon candy canes gummi bears ice cream jelly beans. Bonbon toffee halvah chocolate I love sesame snaps oat cake I love. Halvah sweet tart

biscuit bear claw candy canes.

Chocolate I love chocolate bar bonbon marzipan cheesecake jujubes I love topping. Jujubes carrot cake cotton candy cake.

Sugar plum soufflé soufflé tiramisu donut icing cake. I love candy marshmallow. Toffee I love soufflé I love topping soufflé.

Tart lemon drops icing biscuit I love liquorice tootsie roll sweet marshmallow.

Gingerbread brownie chocolate cake fruitcake marzipan candy canes. Gingerbread candy canes sesame snaps I love cupcake chocolate. Cotton candy I love carrot cake fruitcake. Oat cake tiramisu soufflé. Soufflé cupcake caramels pie lemon drops brownie tart chocolate bar.

Lollipop cheesecake halvah pastry. Cake brownie cupcake. Jujubes bear claw cupcake. I love candy muffin. I love toffee I love tiramisu donut. Jelly dessert dessert tiramisu sugar plum donut chocolate I love sweet. I love cookie marzipan candy canes chocolate cake sugar plum liquorice caramels. Cookie sweet roll wafer wafer tootsie roll jelly dragée chocolate jujubes.

Icing tiramisu bonbon jelly beans sesame snaps cake pie chocolate cake. Ice cream sweet roll sweet roll chupa chups pie cupcake candy canes. I love lemon drops sesame snaps toffee. Powder chocolate bar halvah. Cake cheesecake. Tootsie roll I love powder I love muffin oat cake I love gingerbread soufflé.

INstructions 1. Place the yogurt, egg yolks, butter, maple syrup, and desicated coconut into a bowl and mix well to combine.

2. Stir in the flour, baking powder and gently whisk to make a smooth batter.

3. Beat the egg whites to stiff peaks and fold them into the yogurt mixture.

4. Heat the oil in a frying pan and dropped in heaped tablespoons of batter.

5. Cook the pancakes for about 1 minute until golden and then flip them over and cook for another minute.

6. Serve warm with melted chocolate, raspberries, and desicated coconut.

Enjoy!

For more recipes by David Munns, check out his summer recipes online at www.davidskitchen.com/ cookbook/summer

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create

WHO what why

WINDOWS INTO THE

SURREAL FIDM’s 5th floor windows celebrate the surreal work of Elsa Schiaparelli

BY HAMISH BOWLES

“M

adder and more original than most of her contemporaries, Mme Schiaparelli is the one to whom the word ‘genius’ is applied most often,” Time magazine wrote of its cover subject in 1934. Coco Chanel once dismissed her rival as “that Italian artist who makes clothes.” (To Schiaparelli, Chanel was simply “that milliner.”) Indeed, Schiaparelli—“Schiap” to friends—stood out among her peers as a true nonconformist, using clothing as a medium to express her unique ideas. In the thirties, her peak creative period, her salon overflowed with the wild, the whimsical, and even the ridiculous. Many of her madcap designs could be pulled off only by a woman of great substance and style: Gold ruffles sprouted from the fingers of chameleon-green suede gloves; a pale-blue satin evening gown—modeled by Madame Crespi in Vogue—had a stiff overskirt of Rhodophane (a transparent, glasslike modern material); a smart black suit jacket had red lips for pockets. Handbags, in the form of music boxes, tinkled tunes like “Rose Marie, I Love You”; others fastened with padlocks. Monkey fur and zippers (newfangled in the thirties) were everywhere. love of trompe l’oeil can be traced . to the faux-bow sweater that kick-started Schiaparelli’s career and brought her quirky style to the masses.

“Dare to be different,” is the advice she offered to women. Pacesetters and rule-breakers waved that flag through the sixties, the seventies, and beyond.

PHOTOCREDIT PORTRAIT: IRVING PENN WINDOWS: PHOTOGRAPHED BY CARLOS DIAZ

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A 2008 study by the non-profit organization The Education Commission of the States concludes that arts can play a critical role in improving the academic performance of students. In a national sample of 25,000 students, those students “with high levels of arts-learning experiences” earned higher grades and scored better on standardized tests than those with little or no involvement in the arts-regardless of socioeconomic status. Learning through the arts also appears to have significant effects on learning in other disciplines, with “students consistently involved in theaterand music showing higher levels of success in math and reading.” The creative economy is one of the driving forces of the Los Angeles and Orange County economies, generating nearly 1 million in direct and indirect jobs, $140 billion in sales and receipts, and more than $5.1 billion in state and local taxes. Students who study art

DID YOU KNOW?

are 4 times more likely to be recognized for academic achievement and 3 times more likely to be awarded for school attendance. Arts and music education programs are mandatory in countries that rank consistently among the highest for math and science test scores, like Japan, Hungary, and the Netherlands. Music programs are constantly in danger of being cut from shrinking school budgets even though they’re proven to improve academics. Show educators how important arts are in your community.

Sign up for Music March Out. The No Child Left Behind Act clearly mandates The Arts (music, art, foreign language, etc.) as a core academic subject. One study group showed that 3rd, 4th, and 5th grade students who were taught a foreign language every day in school outperformed the students who were not exposed to a foreign language on their Basic Skills Test. Tackle a campaign to make the world suck less.

Federal funding for the arts and humanities rolls in around $250 million a year, while the National Science Foundation is funded around the $5 billion mark. Researchers find that sustained learning in music and theater correlates strongly with higher achievement in both math and reading. In a study of a high-poverty schools in Chicago, the schools that were participating in the Chicago Arts Partnerships in Education (CAPE) made huge strides in closing the gap between highand low-income students’ academic achievement. Multiple studies have concluded that curricular and extracurricular art studies and activities help keep high-risk dropout students stay in school.

New brain research shows that not only does music improve skills in math and reading, but it promotes creativity, social development, personality adjustment, and self-worth.

Research suggests that studying a second language is essential to the learning process, creative inquiry and critical thinking. Foreign language studies have proven to increase problem-solving skills and overall cognitive development. Learning through the arts also appears to have significant effects on learning in other disciplines, with “students consistently involved in theaterand music showing higher levels of success in math and reading.” The creative economy is one of the driving forces of the Los Angeles and Orange County economies, generating nearly 1 million in direct and indirect jobs, $140 billion in sales and receipts, and more than $5.1 billion in state and local taxes.

Arts and music education programs are mandatory in countries that rank consistently among the highest for math and science test scores. Music programs are constantly in danger of being cut from shrinking school budgets even though they’re proven to improve academics. Show educators how important arts are in your community. Sign up for Music March Out. The No Child Left Behind Act clearly mandates The Arts as a core academic subject. Federal funding for the arts and humanities rolls in around $250 million a year, while the National Science Foundation is funded around the $5 billion mark, but it promotes creativity, social development, personality adjustment, and self-worth.

72% 90%

of all business leaders say creativity is of high importance when hiring.

of students with 4 years of art in high school average 100 points higher on their sats than those who don’t.

4.1

million jobs in the united states are supported by the arts industry.

Arts promote true prosperity. The arts are fundamental to our humanity. They enable and inspire us—fostering creativity, goodness, and beauty. The arts help us express our values, build bridges between cultures, and bring us together regardless of ethnicity, religion, or age. When times are tough, art is salve for the ache.

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create

WHO what why

Why Print Matters As marketers’ investments in print advertising continue their steep decline, experts explain the medium’s relevance in the digital age.

BY MOLLY SOAT

L

ast year was another rough one for newspaper and magazine publishers.

In 2014, 91 U.S. magazines ceased publication, up from 51 closures in 2013, while stalwarts like the U.S. political magazine National Journal​ decreased their issue frequency. On the newspaper end, total ad revenue in 2013 was 49% lower than it had been a decade earlier, according to the “State of the News Media 2014” study by the Pew Research Center, and Tribune Co. is estimated to have cut 700 jobs in 2013 alone. Fearing for the worst, many publishers are raising subscription costs in an attempt to offset ad revenue declines, investing in flashier digital delivery platforms in order to offer advertisers multichannel bundle opportunities, or launching annual events in the hopes of generating enough money via registrations and sponsorships to sustain a year’s worth of magazine production costs.

But print isn’t dead, experts say. Print circulations are down, but in many cases, that means that publications’ readership has been culled to only the most engaged, which is a desirable trait, from an advertising standpoint. The primary challenge with print is demonstrating the ads’ effectiveness, but experts argue that there’s a solution. “Print is interesting because it actually provokes people to read it,” says Britt Fero, executive vice president and head of strategy in the Seattle office of New York-based ad agency Publicis. “Just buying it or getting it in the mail provokes the reader to engage in a way that digital doesn’t.

If you have time to read a magazine, then you’re going to really engage with the ads in there. Print ads should inspire you to look at them even longer.”

The Pros of ​Print

“Print is still a top-of-funnel medium,” says Andy Blau, senior vice president of

finance and advertising at New York-based magazine publisher Time Inc. “It’s really for establishing brand worthiness in the marketplace, for establishing the value of the

brand, for communicating very broadly, with broad reach, to the right target audience. It’s really pure brand advertising. And digital tries to do somTe of that, but it’s still much more of a direct response. People still measure digital with click-throughs and conversion rates, and

you can’t necessarily maintain marketing of a brand through digital alone. Print advertising is a very efficient way of establishing a brand identity and for communicating that to the target market.”​ Why Print Ain’t Dead!

Too many times in the last decade pundits, printers, publishers and workers in the ranks have heard or have talked about it themselves-- the inescapable, oft repeated mantra that print is dead. I am so tired of it that it boggles the mind.

Here is my statement and you should repeat after me, “Print is not dead or dying. The facts plainly show otherwise.” Let’s agree right here and now to get on with the necessary process of information distribution for a profit and forget about fear mongering old wives tales. In today’s marketplace print is one of the largest industries in the world. Print eclipses auto-manufacturing in employment.

Did you know that print is a $640 billion dollar business and has been reported to drive $3.8 trillion in related services? That ain’t death, nor near death.

If we can finally accept that print is far from dead, we can move on to the truly confused ideological problem of our industry --incorrectly assuming that print and magazines are the same thing. They are not and never have been the same, and their trajectories are not tied together.

Printed magazines, in fact, are a very small part of the entirety of print business.The other side of the coin is that even though print is not dying, the sad but inescapable truth is that print magazines are diminishing.

Increasingly selling fewer products as an industry is neither death nor dying, but it is proof that we are moving on and successfully creating new revenue streams. These new communication tools will one day soon be of much greater value than our old beloved and historic printed products.

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pens & INK PACKAGE DEAL $49.99 Includes: ruling pen, pilot parallel pen, Pentel brush pen, flat head brush, flexible nib (Leonardt) oblique holder, ruling pen, pointed brush, broad nib pen (plus reservoir), Tombow brush pen (n15), automatic pen (no5), suede tip pen.

PENTEL BRUSH PEN $12.99 The classic GFKP3-A fude brush pen offers the versatility of a paintbrush with the convenience of a pen by creating fine to broad lines within a single stroke. 4 ink cardtridges supplied.

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KURETAKE ZIG CLEAN COLOR REAL BRUSH PEN $2.99 A bristle tip with excellent color range and is capable of creating very fine lines.

Water-based dye.

FUTAYAKU DOUBLE SIDED BRUSH PEN $3.99 A double-sided black ink pen, with a fine brush tip on one end and a medium brush tip on the other. The two hard brush tips make it easy to create beautiful brush-stroke lettering.

tools

Ink staff picks their favorites for the month.

KURETAKE NO. 50 FOUNTAIN HAIR BRUSH PEN $79.99 Made from authentic sable hair and beautifully designed to reflect the glean of a tortoise shell, this natural brush pen is also compatible with different types of ink. 3 ink cartridges included with pen.

KURETAKE ZIG CLEAN COLOR REAL BRUSH PEN $2.99 A bristle tip with excellent color range and is capable of creating very fine lines. Water-based dye.

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PRINT & DESIGN

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I

talian illustrator & Digital Photographer Alberto Seveso was born in Milan, he grow up in Sardinia but is now working and living in Bristol (UK) as a freelancer. His passion for graphic art started when he was in a young age and he was really fascinated by the graphic of skate decks and the cover of music CD of metal bands in the early ‘90s. From this passion he started to create his artworks. Avedon has collaborated on a number of books of portraits. In 1959 he worked with Truman Capote on a book that documented some of the most famous and important people of the century. Observations included images of Buster Keaton, Gloria Vanderbilt, Pablo Picasso, Dr. J. Robert Oppenheimer, Frank Lloyd Wright, and Mae West. Around this same time he began a series of images of patients in mental hospitals.

Replacing the controlled environment of the studio with that of the hospital he was able to recreate the genius of his other portraits with non-celebrities. The brutal reality of the lives of the insane was a bold contrast to his other work.

Years later he would again drift from his celebrity portraits with a series of studio images of drifters, carnival workers, and working class Americans.

Throughout the 1960s Avedon continued to work for Harper’s Bazaar and in 1974 he collaborated with James Baldwin on the book Nothing Personal.

Having met in New York in 1943, Baldwin and Avedon were friends and collaborators for more than thirty years.

For all of the 1970s and 1980s Avedon continued working for Vogue magazine, where he would take some of the most famous portraits of the decades. In 1992 he became the first staff photographer for The New Yorker, and two years later the Whitney Museum brought together fifty years of his work in the retrospective, “Richard Avedon: Evidence”. He was voted one of the ten greatest photographers in the world by Popular Photography magazine, and in 1989 received an honorary doctorate from the Royal College of Art in London. Today, his pictures continue to bring us a closer, more intimate view of the great and the famous.

Avedon’s notoriety grew, so did the opportunities to meet and photograph celebrities from a broad range of disciplines. Avedon’s ability to present personal views of public figures, who were otherwise distant and inaccessible, was immediately recognized by the public and the celebrities themselves.

Many sought out Avedon for their most public images.

His artistic style brought a sense of sophistication and authoritave authority to the portraits.

AlbertoS ITALIAN PHOTOGRAPHER

oSeveso

Throughout his career Avedon has maintained a unique style all his own. When printed, the images regularly contain the dark outline of the film in which the image was framed. Within the minimalism of his empty studio, Avedon’s subjects move freely, and it is this movement which brings a sense of spontaneity to the images.

What do Jean Genet, Jimmy Durante, Brigitte Bardot, Georgia O’Keeffe, Jacques Cousteau, Andy Warhol, and Lena Horne have in common? They were a few of the many personalities caught on film by photographer Richard Avedon. For more than fifty years, Richard Avedon’s portraits have filled the pages of the country’s finest and most famous magazines. His stark imagery and brilliant insight into his subjects’ characters has made him one of the premier American portrait photographers.

Born in New York in 1923, Richard Avedon dropped out of high school and joined the Merchant Marine’s photographic section. Upon his return in 1944, he found a job as a photographer in a department store. Within two years he had been “found” by an art director at Harper’s Bazaar and was producing work for them as well as Vogue, Look, and a number of other magazines. During the early years, Avedon made his living primarily through work in advertising.

His real true passion, however, was the portrait and its ability to express the essence of its subject.

As Avedon’s notoriety grew, so did the opportunities to meet and photograph celebrities from a broad range of disciplines. Avedon’s ability to present personal views of public figures, who were otherwise distant and inaccessible, was immediately recognized by the public and the celebrities themselves.

Many sought out Avedon for their most public images. His artistic style brought a sense of sophistication and authority to the portraits. More than anything, it is Avedon’s ability to set his subjects at ease that helps him create true, intimate, and lasting photographs.

Throughout his career Avedon has maintained a unique style all his own.

Famous for their minimalism, Avedon portraits are often well lit and in front of white backdrops. When printed, the images regularly contain the dark outline of the film in which the image

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was framed. Within the minimalism of his empty studio, Avedon’s subjects move freely, and it is this movement which brings a sense of spontaneity to the images. Often containing only a portion of the person being photographed, the images seem intimate in their imperfection. While many photographers are interested in either catching a moment in time or preparing a formal image, Avedon has found a way to do both.

Beyond his work in the magazine industry, Avedon has collaborated on a number of books of portraits. In 1959 he worked with Truman Capote on a book that documented some of the most famous and important people of the century.

Observations included images of Buster Keaton, Gloria Vanderbilt, Pablo Picasso, Dr. J. Robert Oppenheimer, Frank Lloyd Wright, and Mae West. Around this same time he began a series of images of patients in mental hospitals.

Replacing the controlled environment of the studio with that of the hospital he was able to recreate the genius of his other portraits with non-celebrities. The brutal reality of the lives of the insane was a bold contrast to his other work. Years later he would again drift from his celebrity portraits with a series of studio images of drifters, carnival workers, and working class Americans.

Avedon has collaborated on a number of books of portraits. In 1959 he worked with Truman Capote on a book that documented some of the most famous and important people of the century.

Observations included images of Buster Keaton, Gloria Vanderbilt, Pablo Picasso, Dr. J. Robert Oppenheimer, Frank Lloyd Wright, and Mae West. Around this same time he began a series of images of patients in mental hospitals.

Replacing the controlled environment of the studio with that of the hospital he was able to recreate the genius of his other portraits with non-celebrities. The brutal reality of the lives of the insane was a bold contrast to his other work. Years later he would again drift from his celebrity portraits with a series of studio images of drifters, carnival workers, and working class Americans.

Throughout the 1960s Avedon continued to work for Harper’s Bazaar and in 1974 he collaborated with James Baldwin on the book Nothing Personal. Having met in New York in 1943, Baldwin and Avedon were friends

and collaborators for more than thirty years. For all of the 1970s and 1980s Avedon continued working for Vogue magazine, where he would take some of the most famous portraits of the decades. In 1992 he became the first staff photographer for The New Yorker, and two years later the Whitney Museum brought together fifty years of his work in the retrospective, “Richard Avedon: Evidence”. He was voted one of the ten greatest photographers in the world by Popular Photography magazine, and in 1989 received an honorary doctorate from the Royal College of Art in London.

Today, his pictures continue to bring us a closer, more intimate view of the great and the famous. Avedon’s notoriety grew, so did the opportunities to meet and photograph celebrities from a broad range of disciplines. Avedon’s ability to present personal views of public figures, who were otherwise distant and inaccessible, was immediately recognized by the public and the celebrities themselves. Many sought out Avedon for their most public images. His artistic style brought a sense of sophistication and authoritave authority to the portraits.

Throughout his career Avedon has maintained a unique style all his own. When printed, the images regularly contain the dark outline of the film in which the image was framed. Within the minimalism of his empty studio, Avedon’s subjects move freely, and it is this movement which brings a sense of spontaneity to the images.

What do Jean Genet, Jimmy Durante, Brigitte Bardot, Georgia O’Keeffe, Jacques Cousteau, Andy Warhol, and Lena Horne have in common? They were a few of the many personalities caught on film by photographer Richard Avedon. For more than fifty years, Richard Avedon’s portraits have filled the pages of the country’s finest and most famous magazines. His stark imagery and brilliant insight into his subjects’ characters has made him one of the premier American portrait photographers.

Born in New York in 1923, Richard Avedon dropped out of high school and joined the Merchant Marine’s photographic section. Upon his return in 1944, he found a job as a photographer in a department store. Within two years he had been “found” by an art director at Harper’s Bazaar and was producing

WWW.INKMAGAZINE.COM

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work for them as well as Vogue, Look, and a number of other magazines. During the early years, Avedon made his living primarily through work in advertising. His real true passion, however, was the portrait and its ability to express the essence of its subject.

As Avedon’s notoriety grew, so did the opportunities to meet and photograph celebrities from a broad range of disciplines. Avedon’s ability to present personal views of public figures, who were otherwise distant and inaccessible, was immediately recognized by the public and the celebrities themselves. Many sought out Avedon for their most public images. His artistic style brought a sense of sophistication and authority to the portraits. More than anything, it is Avedon’s ability to set his subjects at ease that helps him create true, intimate, and lasting photographs.

Throughout his career Avedon has maintained a unique style all his own. Famous for their minimalism, Avedon portraits are often well lit and in front of white backdrops.

When printed, the images regularly contain the dark outline of the film in which the image was framed. Within the minimalism of his empty studio, Avedon’s subjects move freely, and it is this movement which brings a sense of spontaneity to the images. Often containing only a portion of the person being photographed, the images seem intimate in their imperfection. While many photographers are interested in either catching a

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moment in time or preparing a formal image, Avedon has found a way to do both.

Beyond his work in the magazine industry, Avedon has collaborated on a number of books of portraits. In 1959 he worked with Truman Capote on a book that documented some of the most famous and important people of the century.

Observations included images of Buster Keaton, Gloria Vanderbilt, Pablo Picasso, Dr. J. Robert Oppenheimer, Frank Lloyd Wright, and Mae West. Around this same time he began a series of images of patients in mental hospitals. Replacing the controlled environment of the studio with that of the hospital he was able to recreate the genius of his other portraits with non-celebrities. The brutal reality of the lives of the insane was a bold contrast to his other work. Years later he would again drift from his celebrity portraits with a series of studio images of drifters, carnival workers, and the entire working class Americans.

Avedon has collaborated on a number of books of portraits. In 1959 he worked with Truman Capote on a book that documented some of the most famous and important people of the century. Observations included images of Buster Keaton, Gloria Vanderbilt, Pablo Picasso, Dr. J. Robert Oppenheimer, Frank Lloyd Wright, and Mae West. Around this same time he began a series of images of patients in mental hospitals.

Replacing the controlled environment of the studio with that of the hospital he was able to recreate the genius of his other portraits with non-celebrities. The brutal reality of the lives of the insane was a bold contrast to his other work. Years later he would again drift from his celebrity portraits with a series of studio images of drifters, carnival workers, and working class Americans.

Throughout the 1960s Avedon continued to work for Harper’s Bazaar and in 1974 he collaborated with James Baldwin on the book Nothing Personal. Having met in New York in 1943, Baldwin and Avedon were friends and collaborators for more than thirty years. For all of the 1970s and 1980s Avedon continued working for Vogue magazine, where he would take some of the most famous portraits of the decades. In 1992 he became the first staff photographer for The New Yorker, and two years later the Whitney Museum brought together fifty years of his work in the retrospective, “Richard Avedon: Evidence”. He was voted one of the ten greatest photographers in the world

by Popular Photography magazine, and in 1989 received an honorary doctorate from the Royal College of Art in London. Today, his pictures continue to bring us a closer, more intimate view of the great and the famous. Avedon’s notoriety grew, so did the opportunities to meet and photograph celebrities from a broad range of disciplines.

Avedon’s ability to present personal views of public figures, who were otherwise distant and inaccessible, was immediately recognized by the public and the celebrities themselves. Many sought out Avedon for their most public images. His artistic style brought a sense of sophistication and authoritave authority to the portraits.

As Avedon’s notoriety grew, so did the opportunities to meet and photograph celebrities from a broad range of disciplines. Avedon’s ability to present personal views of public figures, who were otherwise distant and inaccessible, was immediately recognized by the public and the celebrities themselves. Many sought out Avedon for their most public images. His artistic style brought a sense of sophistication and authority to the portraits. More than anything, it is Avedon’s ability to set his subjects at ease that helps him create true, intimate, and lasting photographs. in their imperfection. While many photographers are interested in either catching a moment in time or preparing a formal image, Avedon has found a way to do both.

Beyond his work in the magazine industry, Avedon has collaborated on a number Dr. J. Robert Oppenheimer, Frank Lloyd Wright, and Mae West. Around this same time he began a series of images of patients in mental hospitals. Replacing the controlled environment of the studio with that of the hospital he was able to recreate.

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A

lberto Seveso is a self-taught Italian graphic artist and illustrator, who was first inspired by artwork on skate decks and music album artwork. His unique pieces have been featured on the covers of magazines and CDs around the world, and he’s collaborated with big names such as The Temper Trap, amongst many others. Alberto is probably best known for his portrait work and experiments using ink and high-speed photography. You can see all of his work on his website or on Behance.

We managed to tear him away from his Top Secret current project to answer 8 questions.

1. You are an artist. This is clear, but how do you define yourself? I define myself as “someone playing with softwares, hardwares, colors and creativity” I don’t consider myself as an artist, artist is too much, I think we abuse this word “art” and “artist” there are too many artists who aren’t really, and I’m one of them!

2. We learned about you because of Disastro Ecologico, how was this project born ? By chance, I remember that I saw something similar a long time ago, and I felt impressed by high speed photography. It makes me think about the possibility to stop time in a “click”. Over the last years I just tried to have a personal approach to this technique, developing this project in a very personal way.

3. We know that The Temper Trap, very famous Australian group, chose your work for their CD covers, how did they find you? Talk to us about this collaboration. They saw my works published on a Blog, I think it was “This is Colossal” but I’m not 100% sure. For sure it is one of my favorite works, the collaboration was really cool, because they gave me total creative freedom and I like to work in freedom, and also because in 2012 we won the award for Best Art Vinyl.

4. What do you consider your favorite work?

Well, at the moment probably the series “A me mi piace la Gnocca”. I think it is the most original and spontaneous series of illustrations that i’ve done, for now… People started to know me through this series of illustrations and this way of illustrating bodies and portraits.

5. What advice would you give people who use your work as inspiration? I think that a person who is inspired by my work or any other cool creative, should try to do something completely different from mine, many people are satisfied if they reach my level or if they do something very similar to my artworks, but it is so wrong! Don’t try to be me, try to be better than me and different.

6. Who are your favorite artists? Many, perhaps too many, maybe no one. I’m a little retro – I love Caravaggio, Pollock, Warhol, in general old school artists but I don’t like Picasso too much, maybe I don’t understand his works!

7. A client who you would like to work for? Well, i was really fascinated by the design of skateboards of the ‘90s – my favorite and first board was the “Jeff Kendall” snake, so if I could make a wish I would like to work for Santa Cruz Skateboards – I would like to design some boards.

8. What are you working on now? Hmm, I have to keep it secret, but I can say that I’m working on some illustrations for the movie of a famous fairy tale…

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Richard Avedon: A PORTRAIT OF AN ARTIST Fahey Klein presents a major retrospective of the photographers work.

BY KELY SMITH

W

hat do Jean Genet, Jimmy Durante, Brigitte Bardot, Georgia O’Keeffe, Jacques Cousteau, Andy Warhol, and Lena Horne have in common? They were a few of the many personalities caught on film by photographer Richard Avedon. For more than fifty years, Richard Avedon’s portraits have filled the pages of the country’s finest and most famous magazines. His stark imagery and brilliant insight into his subjects’ characters has made him one of the premier American portrait photographers.

Born in New York in 1923, Richard Avedon dropped out of high school and joined the Merchant Marine’s photographic section. Upon his return in 1944, he found a job as a photographer in a department store. Within two years he had been “found” by an art director at Harper’s Bazaar and was producing work for them as well as Vogue, Look, and a number of other magazines. During the early years, Avedon made his living primarily through work in advertising.

His real true passion, however, was the portrait and its ability to express the essence of its subject.

As Avedon’s notoriety grew, so did the opportunities to meet and photograph celebrities from a broad range of disciplines. Avedon’s ability to present personal views of public figures, who were otherwise distant and inaccessible, was immediately recognized by the public and the celebrities themselves.

Many sought out Avedon for their most public images. His artistic style brought a sense of sophistication and authority to the portraits. More than anything, it is Avedon’s ability to set his subjects at ease that helps him create true, intimate, and lasting photographs.

Throughout his career Avedon has

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maintained a unique style all his own.

Famous for their minimalism, Avedon portraits are often well lit and in front of white backdrops. When printed, the images regularly contain the dark outline of the film in which the image was framed. Within the minimalism of his empty studio, Avedon’s subjects move freely, and it is this movement which brings a sense of spontaneity to the images. Often containing only a portion of the person being photographed, the images seem intimate in their imperfection. While many photographers are interested in either catching a moment in time or preparing a formal image, Avedon has found a way to do both.

Beyond his work in the magazine industry, Avedon has collaborated on a number of books of portraits. In 1959 he worked with Truman Capote on a book that documented some of the most famous and important people of the century.

Observations included images of Buster Keaton, Gloria Vanderbilt, Pablo Picasso, Dr. J. Robert Oppenheimer, Frank Lloyd Wright, and Mae West. Around this same time he began a series of images of patients in mental hospitals.

Replacing the controlled environment of the studio with that of the hospital he was able to recreate the genius of his other portraits with non-celebrities. The brutal reality of the lives of the insane was a bold contrast to his other work. Years later he would again drift from his celebrity portraits with a series of studio images of drifters, carnival workers, and working class Americans.

Throughout the 1960s Avedon continued to work for Harper’s Bazaar and in 1974 he collaborated with James Baldwin on the book Nothing Personal.

Having met in New York in 1943, Baldwin and Avedon were friends and

Richard Avedon self portrait, 1980

collaborators for more than thirty years. For all of the 1970s and 1980s Avedon continued working for Vogue magazine, where he would take some of the most famous portraits of the decades. In 1992 he became the first staff photographer for The New Yorker, and two years later the Whitney Museum brought together fifty years of his work in the retrospective, “Richard Avedon: Evidence”.

He was voted one of the ten greatest photographers in the world by Popular Photography magazine, and in 1989 received an honorary doctorate from the Royal College of Art in London. Today, his pictures continue to bring us a closer, more intimate view of the great and the famous.

Avedon died on October 1st, 2004.

What do Jean Genet, Jimmy Durante, Brigitte Bardot, Georgia O’Keeffe, Jacques Cousteau, Andy Warhol, and Lena Horne have in common? They were a few of the many personalities caught on film by photographer Richard Avedon. For more than fifty years, Richard Avedon’s portraits have filled the pages

of the country’s finest magazines. His stark imagery and brilliant insight into his subjects’ characters has made him one of the premier American portrait photographers.

Born in New York in 1923, Richard Avedon dropped out of high school and joined the Merchant Marine’s photographic section. Upon his return in 1944, he found a job as a photographer in a department store.

Within two years he had been “found” by an art director at Harper’s Bazaar and was producing work for them as well as Vogue, Look, and a number of other magazines.

During the early years, Avedon made his living primarily through work in advertising. His real passion, however, was the portrait and its ability to express the essence of its particular subject.

As Avedon’s notoriety grew, so did the opportunities to meet and photograph celebrities from a broad range of disciplines. Avedon’s ability to present personal views of public figures, who were otherwise distant and inaccessible, was immediately recognized by

the public and the celebrities themselves. Many sought out Avedon for their most public images. His artistic style brought a sense of sophistication and authority to the portraits. More than anything, it is Avedon’s ability to set his subjects at ease that helps him create true, intimate, and lasting photographs.

Throughout his career Avedon has maintained a unique style all his own. Famous for their minimalism, Avedon portraits are often well lit and in front of white backdrops. When printed, the images regularly contain the dark outline of the film in which the image was framed. Within the minimalism of his empty studio, Avedon’s subjects move freely, and it is this movement which brings a sense of spontaneity to the images. Often containing only a portion of the person being photographed, the images seem intimate in their imperfection. While many photographers are interested in either catching a moment in time or preparing a formal image, Avedon has found a way to do both.

WWW.INKMAGAZINE.COM

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“

Beyond his work in the magazine industry, Avedon has collaborated on a number of books of portraits. In 1959 he worked with Truman Capote on a book that documented some of the most famous and important people of the century.

Observations included images of Buster Keaton, Gloria Vanderbilt, Pablo Picasso, Dr. J. Robert Oppenheimer, Frank Lloyd Wright, and Mae West. Around this same time he began a series of images of patients in mental hospitals.

Replacing the controlled environment of the studio with that of the hospital he was able to recreate the genius of his other portraits with non-celebrities. The brutal reality of the lives of the insane was a bold contrast to his other work. Years later he would again drift from his celebrity portraits with a series of studio images of drifters, carnival workers, and working class Americans.

Throughout the 1960s Avedon continued to work for Harper’s Bazaar and in 1974 he collaborated with James Baldwin on the book Nothing Personal. Having met in New York in 1943, Baldwin and Avedon were friends and collaborators for more than thirty years. For all of the 1970s and 1980s Avedon continued working for Vogue magazine, where he would take some of the most famous portraits of the decades. In 1992 he became the first staff photographer for The New Yorker, and two years later the Whitney Museum brought together fifty years of his work in the retrospective, “Richard Avedon: Evidence”. He was voted one of the ten greatest photographers in the world by Popular Photography magazine, and in 1989 received an honorary doctorate from the Royal College of Art in London.

school and joined the Merchant Marine’s photographic section. Upon his return in 1944, he found a job as a photographer in a department store. Within two years he had been “found” by an art director at Harper’s Bazaar and was producing work for them as well as Vogue, Look, and a number of other magazines. During the early years, Avedon made his living primarily through work in advertising.

His real true passion, however, was the portrait and its ability to express the essence of its subject.

As Avedon’s notoriety grew, so did the opportunities to meet and photograph celebrities from a broad range of disciplines. Avedon’s ability to present personal views of public figures, who were otherwise distant and inaccessible, was immediately recognized by the public and the celebrities themselves.

Many sought out Avedon for their most public images. His artistic style brought a sense of sophistication and authority to the portraits. More than anything, it is Avedon’s ability to set his subjects at ease that helps him create true, intimate, and lasting photographs.

Throughout his career Avedon has maintained a unique style all his own.

Famous for their minimalism, Avedon portraits are often well lit and in front of white backdrops. When printed, the images regularly contain the dark outline of the film in which the image was framed. Within the minimalism of his empty studio, Avedon’s subjects move freely, and it is this movement which brings a sense of spontaneity to the images. Often containing only a portion of the person being photographed, the images seem intimate in their imperfection. While many photographers

All photographs are accurate.

None of them is the truth.

–Richard Avedon Today, his pictures continue to bring us a closer, more intimate view of the great and the famous. Avedon’s notoriety grew, so did the opportunities to meet and photograph celebrities from a broad range of disciplines. Avedon’s ability to present personal views of public figures, who were otherwise distant and inaccessible, was immediately recognized by the public and the celebrities themselves. Many sought out Avedon for their most public images. His artistic style brought a sense of sophistication and authoritave authority to the portraits.

Throughout his career Avedon has maintained a unique style all his own. When printed, the images regularly contain the dark outline of the film in which the image was framed. Within the minimalism of his empty studio, Avedon’s subjects move freely, and it is this movement which brings a sense of spontaneity to the images.

What do Jean Genet, Jimmy Durante, Brigitte Bardot, Georgia O’Keeffe, Jacques Cousteau, Andy Warhol, and Lena Horne have in common? They were a few of the many personalities caught on film by photographer Richard Avedon. For more than fifty years, Richard Avedon’s portraits have filled the pages of the country’s finest and most famous magazines. His stark imagery and brilliant insight into his subjects’ characters has made him one of the premier American portrait photographers.

Born in New York in 1923, Richard Avedon dropped out of high

are interested in either catching a moment in time or preparing a formal image, Avedon has found a way to do both.

Beyond his work in the magazine industry, Avedon has collaborated on a number of books of portraits. In 1959 he worked with Truman Capote on a book that documented some of the most famous and important people of the century.

Observations included images of Buster Keaton, Gloria Vanderbilt, Pablo Picasso, Dr. J. Robert Oppenheimer, Frank Lloyd Wright, and Mae West. Around this same time he began a series of images of patients in mental hospitals.

Replacing the controlled environment of the studio with that of the hospital he was able to recreate the genius of his other portraits with non-celebrities. The brutal reality of the lives of the insane was a bold contrast to his other work. Years later he would again drift from his celebrity portraits with a series of studio images of drifters, carnival workers, and working class Americans.

Throughout the 1960s Avedon continued to work for Harper’s Bazaar and in 1974 he collaborated with James Baldwin on the book Nothing Personal. Having met in New York in 1943, Baldwin and Avedon were friends and collaborators for more than thirty years. For all of the 1970s and 1980s Avedon continued working for Vogue magazine, where he would take some of the most famous portraits of the decades. In 1992 he became the first staff photographer for The New Yorker, and two years later the Whitney Museum

”

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brought together fifty years of his work in the retrospective, “Richard Avedon: Evidence”. He was voted one of the ten greatest photographers in the world by Popular Photography magazine, and in 1989 received a doctorate from the Royal College of Art in London. Today, his pictures continue to bring us a more intimate view of the great and the famous.

Avedon died on October 1st, 2004.

What do Jean Genet, Jimmy Durante, Brigitte Bardot, Georgia O’Keeffe, Jacques Cousteau, Andy Warhol, and Lena Horne have in common? They were a few of the many personalities caught on film by photographer Richard Avedon. For more than fifty years, Richard Avedon’s portraits have filled the pages of the country’s finest magazines. His stark imagery and brilliant insight into his subjects’ characters has made him one of the premier American photographers.

Born in New York in 1923, Richard Avedon dropped out of high school and joined the Merchant Marine’s photographic section. Upon his return in 1944, he found a job as a photographer in a department store. Within two years he had been “found” by an art director at Harper’s Bazaar and was producing work for them as well as Vogue, Look, and a number of other magazines. During the early years, Avedon made his living primarily through work in advertising. His real passion, however, was the portrait and its ability to express its subject.

As Avedon’s notoriety grew, so did the opportunities to meet and photograph celebrities from a broad range of disciplines. Avedon’s ability to present personal views of public figures, who were otherwise distant and inaccessible, was immediately recognized by the public and the celebrities themselves.

Many sought out Avedon for their most public images. His artistic style brought a sense of sophistication and authority to the portraits. More than anything, it is Avedon’s ability to set his subjects at ease that helps him create true, intimate, and lasting photographs.

Throughout his career Avedon has maintained a unique style all his own. Famous for their minimalism, Avedon portraits are often well lit and in front of white backdrops. When printed, the images regularly contain the dark outline of the film in which the image was framed. Within the minimalism of his empty studio, Avedon’s subjects move freely, and it is this movement which brings a sense of spontaneity to the images. Often containing only a portion of the person being photographed, the images seem intimate in their imperfection. While many photographers are interested in either catching a moment in time or preparing a formal image, Avedon has found a way to do both.

Beyond his work in the magazine industry, Avedon has collaborated on a number of books of portraits. In 1959 he worked with Truman Capote on a book that documented some of the most famous and important people of the century.

Observations included images of Buster Keaton, Gloria Vanderbilt, Pablo Picasso, Dr. J. Robert Oppenheimer, Frank Lloyd Wright, and Mae West. Around this same time he began a series of images of patients in mental hospitals.

Replacing the controlled environment of the studio with that of the hospital he was able to recreate the genius of his other portraits with non-celebrities. The brutal reality of the lives of the insane was a bold contrast to his other work. Years later he would again drift from his celebrity portraits with a series of studio images of drifters, carnival workers, and working class Americans.

Throughout the 1960s Avedon continued to work for Harper’s Bazaar and in 1974 he collaborated with James Baldwin on the book Nothing Personal. Having met in New York in 1943, Baldwin and Avedon were friends and collaborators for more than thirty years. For all of the 1970s and 1980s Avedon continued working for Vogue magazine, where he would take some of the most famous portraits of the decades. In 1992 he became the first staff photographer for The New Yorker, and two years later the Whitney Museum brought together fifty years of his work in the retrospective, “Richard Avedon: Evidence”. He was voted one of the ten greatest photographers in the world by Popular Photography magazine, and in 1989 received an honorary doctorate from the Royal College of Art in London.

Today, his pictures continue to bring us a closer, more intimate view of the great and the famous. Avedon’s notoriety grew, so did the opportunities to meet and photograph celebrities from a broad range of disciplines. Avedon’s ability to present personal views of public figures, who were otherwise distant and inaccessible, was immediately recognized by the public and the celebrities themselves. Many sought out Avedon for their most public images. His artistic style brought a sense of sophistication and authoritave authority to the portraits.

Throughout his career Avedon has maintained a unique style all his own. When printed, the images regularly contain the dark outline of the film in which the image was framed. Within that thing I need to take up space this is a filler a big wide fake filler apples oranges peaches banans milkshakes the minimalism of his empty studio, Avedon’s subjects move freely, and it is this movement which brings a sense of spontaneity to the images.

Beyond his work in the magazine industry, Avedon has collaborated on a number of books of portraits. In 1959 he worked with Truman Capote on a book that documented some of the most famous and important people of the century.

Observations included images of Buster Keaton, Gloria Vanderbilt, Pablo Picasso, Dr. J. Robert Oppenheimer, Frank Lloyd Wright, and Mae West. Around this same time he began a series of images of patients in mental hospitals.

Replacing the controlled environment of the studio with that of the hospital he was able to recreate the genius of his other portraits with non-celebrities. The brutal reality of the lives of the insane was a bold contrast to his other work. Years later he would again drift from his celebrity portraits with a series of studio images of drifters, carnival workers, and working class Americans.

Throughout the 1960s Avedon continued to work for Harper’s Bazaar and in 1974 he collaborated with James Baldwin on the book Nothing Personal.

Having met in New York in 1943, Baldwin and Avedon were friends and collaborators for more than thirty years.

For all of the 1970s and 1980s Avedon continued working for Vogue magazine, where he would take some of the most famous portraits of the decades. In 1992 he became the first staff photographer for The New Yorker, and two years later the Whitney Museum brought together fifty “Richard Avedon: Evidence”.

He was voted one of the ten greatest photographers in the world by Popular Photography magazine, and in 1989 received an honorary doctorate from the Royal College of Art in London. Today, his pictures continue to bring us a more intimate view of the great and the famous.

Avedon died on October 1st, 2004.

WWW.INKMAGAZINE.COM

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type ove

repro quaest lautae. Et facestem que possunt intinci isquis velluptatur min nis maiore laboreicto tet labora doluptia quidis et ipsandis molupta spienditis dolo optur, qu nistrum earum fugia illiquae as verum venihiciendi rest enimpor eruntiunt aborias volupta corumquos voloreris quid maximaio blaborum sanimagnis idusanducid qu t pa volore intet idi officia dolo officturerum re, eat re veniam venimus pario. Natiber sperrum ea atur? Olent aut quo cum cus, volorpo reniandae con corem. Itatem vo quo cum cus, volorpo reniandae con corem. Itatem volor aut parum ut que nonsecae sum, cum re dem et aut hicto estemquodiae es vendi veliquam, officab orepta ped ore pero atempel tu ritior m, sequo possum mque et oluptam eriatur? voluptis ecerrum tusci od pedi odi nullaut s core re udaeped ernatat. velento evellam enditat. aximus. evelibus uis ea et ue nobis im repe

BY PAUL SHAW pit, quos ol uptati a volessi tatur, ut uatiatur? m iliquis m verum perunt. m acepre sume re r? Quias tur? Bea atquunt volupta et audis ellorum doluptis Ebiscius. it atibus volorem aut pos t esequi orit, sed rat eatia officil ex From 1940 until the end Throughout the 1940s and Two covers directly referenced With Print IX:5 (1955), Leo atemqui of 1973, Print was set in into the mid-1950s, Caledonia type: Vol. 5, No. 3 by Alex Lionni became the co-editor eruptat. metal type, a combination of remained the text type for Steinweiss with an illustration of the magazine. For nearly onsende Linotype (with one exception) Print and Bulmer the preferred of two hands composing type two years he designed the offictio. for text and foundry type for headline type. But some below the nameplate, drawn covers and wrote a column quaepta titles.

Amusingly, the first articles used handlettering, as a cascade of pieces of titled “The Lion’s Tail.” For the iaeceres issue, designed by Howard calligraphy or other typefaces, “Bodoni” foundry type; and first time, the covers sported us sunt.

Trafton, has no type or such as the profile of Vol. 7, No. 3, “The Typewriter a consistent nameplate. They One etur lettering on the cover—just calligrapher Arnold Bank Type Issue,” with a cover were set in Chisel, an inline sime et some fingerprints and an odd in Print 4 (1941) or Goudy

by George A. Shealy set in version of a 19th-century m harum sun figure holding a book.

Oldstyle Bold and Garamond Underwood Typewriter from Latin typeface that had first apietur?

The interior typography is a No. 3 in Print V:4 (1948). The Monotype. Steinweiss’ cover, appeared in 1946. Lionni also m quam harmonious combination of covers were eclectic with no though well done, was a redesigned the interior of ia peres Caledonia for text and Bulmer set rendition of the nameplate cliché. Shealy’s design is both the magazine, choosing the nustrum for article titles. or the tagline. They veered expected—given the subject Linotype version of Century t repero from type to handlettering/ of the issue—and unexpected, Expanded for the text and odipsant handwriting and back again. a fresh break from the varieties Venus Bold Extended from plam et of handlettering prevailing the Bauer type foundry for vernatus before and after. the headlines. These three ptat ant typefaces outlasted Lionni’s nest, es tenure. rumqui tametur uditium con plit dollore fficimus, c totatis fuga. Ut o blaborepta vollabo. Solorer sperum faceprae poreptat as et, cus dempore latis eatem volendia quis et ipsapis everumqui torem. Sinvelles es ide ium atquat officiu reper olora num que ma plaboria cuptatur, ad unt atur? Optatibusam, sitae. Totaturem dera de nonsequae porro et rem alit re, ipsumquidest eum re volorum rest qui ab ipsa ue cum nestess itatur solecernat dolest optatium esedissequis il il most, nullenita suscias utati totae andae necuptia cum aliberf eratus moluptiis dolor mintempor rae pe onsero remolup tatiusandi inctecti sundite reperum remquam volent earitiumquia volorum nonsece pelitatur, sustiuscient ligni aut rem nameniate cus, nam, sini si od

Ink’s typographic path has veered left and swung right over the last seven-and-a-half decades.

1940

ver time

uia nonsequatum eossi nonsequi ipsam ex endandi tempores eris accusae. Aborem. Ut abores dis audi berchit dolume omnient quatiatust volupti sim harciae solorehen uia destrum ut expelendanit exeria sin et eiuriatur, sitius eume volupta dolorum dernam fuga. Bernat et acernatia quo offictium fugit aut aut labo. Moles soluptati con n olor aut parum ut que nonsecae sum, cum re dem et aut hicto estemquodiae es vendi veliquam, officab orepta ped qui ut acestrum qui doluptaquia dis eum hillanimil i d qui ut acestrum qui doluptaquia dis eum hillanimil illabore nimusdandus quid mincturectio etum arcias es et aut rerum aut eosapero et viduscime comnihil ius cusa Ugianti quidi ab eos si do tis ut do nones v pa nus e nos aut Odit, te tis et an id quos laborep cum qu imus, si exped e Udaecti to testiu volor sa Volo do Hicati n maionse ipsamus et et vol etur ma mossum aut quam nctuscii nis essim Pienduc doluptii quatus e Tam, co dolorum veliquam sam ide rum et m ferovid amusda dipsape ipsa vol ium quo Ra vit, t alignim pore mo laborec accus et lu ptatin qui num commo Is de pli The visual look that Lionni Print had abandoned the Beginning in 1960 several of The shift to a sans serif sende n established for Print was part tagline “A Quarterly Journal the guest art directors began typographic nameplate Laccupt of the Modernist emphasis in of the Graphic Arts” in to challenge the use of Chisel for Print was an temquia graphic design at the time on 1953 when it absorbed The for the nameplate. Some, like acknowledgement, though lupta tio uniformity, standardization and Print Collector’s Quarterly.

Designers 3 (Jack Selden, weak, that the sans serif had Em alit, consistency. It was the first “America’s Graphic Design Mel Harris and Jack Golden) become the preferred typeface estem fa step in making the magazine Magazine,” a new tagline, for Print XIV:2 and Robert M. of modern graphic design. fugias d appear to be in tune with the appeared with the March/April Jones (art director at RCA Chisel was an old-fashioned quas do changes the industry was 1959 issue. For the next two Victor Records and proprietor typeface when it was released Tem vol undergoing in the postwar era years the tagline was set in a of the Glad Hand Press) for in 1939 and it must have turit, ill as book design, Print‘s original variety of typefaces, reflecting Print XIV:3, used Chisel Wide. looked even mustier in con rem field, was being supplanted the tastes of the different But others looked further afield comparison to Univers, Neue elitium by corporate design and guest art directors: Trade to such typefaces as Futura Haas Grotesk (later Helvetica) tio ea qu advertising.

Gothic Condensed, Bodoni, (Print XIV:1) and Microgramma and Folio, the trio of new sans etus ad Caslon, Bembo, Hellenic Wide Bold Extended (Print XIV:4). serif typefaces released by qui culp and Baskerville Bold—still with With Print XIV:6, the final issue European foundries in 1957 faciende Chisel for the nameplate. of 1960, Chisel was replaced that were slowly making their er empo by handlettering, with “Print” way to the United States. mentur rendered in closely set, optam a extended grotesque upperpelest, s and lowercase letters. The audae su ‘r’ with a widely curved arm am, solo and matching curved tail to ta tisque the ‘t’ reflect the influence of mostium Microgramma. rerest, e rore per mos and adiae ni rnat fugit et a volore laceria duciatem quasperferia ex earchitam voluptae voluptur ad maximpo repudia voluptas audani doluptatur autest as ent quo essimpo rehenda am re nes minctot aspicidi quia voluptat. Ignimus a des aut volum iniendebis et dis vendera pariate mquiasp ernatet, que miliquunt pliberia et harcim exerio occus rehe eris iure vent. Ullatemporio il ium consedit volut liquat fuga. Beataque ni quamusam vita con plabo. To officab orectatur? Tem endi deliquam et magnimu scipsam a de quia vidus, eatur aciaerum hillibus numquod igniente cum ut abore poresti onsenis is pra nesciationse nusa plant iu poresti onsenis is pra nesciationse nusa plant iuew

repro quaest lautae. Et facestem que possunt intinci isquis velluptatur min nis maiore laboreicto tet labora doluptia quidis et ipsandis molupta spienditis dolo optur, qu nistrum earum fugia illiquae as verum venihiciendi rest enimpor eruntiunt aborias volupta corumquos voloreris quid maximaio blaborum sanimagnis idusanducid qu t pa volore intet idi officia dolo officturerum re, eat re veniam venimus pario. Natiber sperrum ea atur? Olent aut quo cum cus, volorpo reniandae con corem. Itatem vo quo cum cus, volorpo reniandae con corem. Itatem volor aut parum ut que nonsecae sum, cum re dem et aut hicto estemquodiae es vendi veliquam, officab orepta ped ore pero atempel tu ritior m, sequo possum mque et oluptam eriatur? voluptis ecerrum tusci od pedi odi nullaut s core re udaeped ernatat. velento evellam enditat. aximus. evelibus uis ea et ue nobis im repe pit, quos ol uptati a volessi tatur, ut uatiatur? m iliquis m verum perunt. m acepre sume re r? Quias tur? Bea atquunt volupta et audis ellorum doluptis Ebiscius. it atibus volorem aut pos t esequi orit, sed rat eatia officil ex Meanwhile, Century The Linotype monopoly on Marilyn Hoffner was guest De Harak dispensed with the atemqui Expanded, Lionni’s text type, text faces for Print was broken art director for the January/ new Print logo on the cover eruptat. had remained in place until the earlier in 1959 when Print XIII:5 February 1961 issue, and and set the entire issue in onsende January/February 1959 issue was set entirely in Monotype’s co-guest art director with her Standard (aka Akzidenzoffictio. when guest art director Frank Bembo. Not surprisingly, husband, Al Greenberg, the Grotesk), which was the quaepta Mayo (Monogram Art Studio, the guest art director was art director of Gentleman’s first time the magazine iaeceres Inc.) replaced it with Linotype Hans Schneider, the head of Quarterly, for the March/April seemed to acknowledge us sunt.

Baskerville.

In the following typographic design at Lanston 1961 issue.

She brought back the typographic movement One etur issue, co-guest art directors Monotype Machine Company. Century Expanded as the text brewing in Switzerland. sime et Lou Dorfsman and Herb But Mergenthaler Linotype type but added Dwiggins’ Hoffner’s issues subsequently m harum Lubalin chose Linotype Bodoni returned in 1960 with Spartan Metrolite No. 2 for headings. dropped Century Expanded apietur? for text and Bauer Bodoni for one issue, Scotch Roman Trade Gothic was used for the as the body type, replacing m quam Titling for the heads.

Robert for another and Baskerville for cover tagline. She became it—owing to the limitations of ia peres Benton, art director at Esquire the remainder. the regular art director for the Linotype—with Trade Gothic nustrum and later an Oscar-winning remainder of the year and into rather than Standard. German t repero film director, kept Bodoni for the middle of 1962, with the Linotype had converted Neue odipsant text but used Caslon 540 for notable exception of the May/ Haas Grotesk to Helvetica plam et titles—a combination that June 1961 issue, which was the year before, but the type vernatus contradicts most advice on designed by Rudy Harak. would not be available in ptat ant mixing old style and modern the United States until early nest, es style types—in the July/August 1965. For titling, Hoffner used rumqui 1959 issue. what appears to be Franklin tametur Condensed Outline from Balto uditium Type for one issue and then con plit Trade Gothic for one after that. dollore fficimus, c totatis fuga. Ut o blaborepta vollabo. Solorer sperum faceprae poreptat as et, cus dempore latis eatem volendia quis et ipsapis everumqui torem. Sinvelles es ide ium atquat officiu reper olora num que ma plaboria cuptatur, ad unt atur? Optatibusam, sitae. Totaturem dera de nonsequae porro et rem alit re, ipsumquidest eum re volorum rest qui ab ipsa ue cum nestess itatur solecernat dolest optatium esedissequis il il most, nullenita suscias utati totae andae necuptia cum aliberf eratus moluptiis dolor mintempor rae pe onsero remolup tatiusandi inctecti sundite reperum remquam volent earitiumquia volorum nonsece pelitatur, sustiuscient ligni aut rem nameniate cus, nam, sini si od

uia nonsequatum eossi nonsequi ipsam ex endandi tempores eris accusae. Aborem. Ut abores dis audi berchit dolume omnient quatiatust volupti sim harciae solorehen uia destrum ut expelendanit exeria sin et eiuriatur, sitius eume volupta dolorum dernam fuga. Bernat et acernatia quo offictium fugit aut aut labo. Moles soluptati con n olor aut parum ut que nonsecae sum, cum re dem et aut hicto estemquodiae es vendi veliquam, officab orepta ped qui ut acestrum qui doluptaquia dis eum hillanimil i d qui ut acestrum qui doluptaquia dis eum hillanimil illabore nimusdandus quid mincturectio etum arcias es et aut rerum aut eosapero et viduscime comnihil ius cusa Ugianti quidi ab eos si do tis ut do nones v pa nus e nos aut Odit, te tis et an id quos laborep cum qu imus, si exped e Udaecti to testiu volor sa Volo do Hicati n maionse ipsamus et et vol etur ma mossum aut quam nctuscii nis essim Pienduc doluptii quatus e Tam, co dolorum veliquam sam ide rum et m ferovid amusda dipsape ipsa vol ium quo Ra vit, t alignim pore mo laborec accus et lu ptatin qui num commo Is de pli With the July/August 1962 Kner kept Standard as the The big shift came in the After DiMatteo’s departure, sende n issue Andrew Kner took over tagline type and Trade Gothic November/December 1973 Print changed its typography Laccupt as art director, a position he as the text and headline type issue as Helvetica—most entirely. Under the art direction temquia held until the end of 1999. For for over a decade. Even with likely set on the Mergenthaler of Tonya Douraghy, the lupta tio two years guest designers— a special typography issue V.I.P. system—appeared beefier Galaxie Polaris Bold Em alit, including Ivan Chermayeff, (January/February 1964) guest throughout the issue: cover replaced Gotham Rounded estem fa S. Neil Fujita, Olaf Leu and edited by Aaron Burns and tagline, masthead, table of Light for the nameplate and fugias d even Peter Max—would including Paul Rand and Jan contents, and some headlines, also became the headline quas do design covers, but not the Tschichold, this typographic but not for author names and font, with a condensed Tem vol interiors. After that, Kner look remained the same. decks, which shifted from version being used for cover turit, ill was responsible for most Change came only when metal Century Expanded Italic to straplines and subheads con rem covers. He also stabilized the type was finally supplanted by Garamond No. 3 Italic. This inside. A serif companion, elitium nameplate and tagline. photocomposition in the early became the style for the rest Galaxie Copernicus Medium, tio ea qu 1970s. A hint can be seen in of the 1970s with the heads became the text face. A new etus ad the use of tightly set Palatino being set in a weird variety of tagline, “Redefining Design,” qui culp Italic for a 1970 article title. display typefaces (e.g. Bauer was introduced. Although faciende Bodoni Black, Neuland Inline, Douraghy was eventually er empo Trump Gravur, Neil Bold and replaced by Ben King and mentur ITC Souvenir) to provide visual King by Ronson Slagle—and optam a contrast to the Helvetica copy. despite the move of Print’s pelest, s offices from New York City to audae su Cincinnati—this typographic am, solo trio is still in use. ta tisque mostium rerest, e rore per mos and adiae ni rnat fugit et a volore laceria duciatem quasperferia ex earchitam voluptae voluptur ad maximpo repudia voluptas audani doluptatur autest as ent quo essimpo rehenda am re nes minctot aspicidi quia voluptat. Ignimus a des aut volum iniendebis et dis vendera pariate mquiasp ernatet, que miliquunt pliberia et harcim exerio occus rehe eris iure vent. Ullatemporio il ium consedit volut liquat fuga. Beataque ni quamusam vita con plabo. To officab orectatur? Tem endi deliquam et magnimu scipsam a de quia vidus, eatur aciaerum hillibus numquod igniente cum ut abore poresti onsenis is pra nesciationse nusa plant iu poresti onsenis is pra nesciationse nusa plant iuew

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