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Carson became the art director of Transworld Skateboarding magazine in 1984, and remained there until 1988, helping to give the magazine a distinctive look. By the end of his tenure there he had developed his signature style, using "dirty" type a n d non-mainstream photographic techniques. He was also the art director of a spinoff magazine, Transworld Snowboarding, which began publishing in 1987.
Steve and Debbee Pezman, publishers of Surfer magazine (and later Surfers Journal) tapped Carson to design Beach Culture, a quarterly publication that evolved out of a to-the-trade annual supplement. Though only six quarterly issues were produced, the tabloid-size venue edited by author Neil Fineman allowed Carson to make his ďŹ rst signiďŹ cant impact on the world of graphic design and typography with ideas that were called innovative even by those that were not fond of his work, in which legibility often relied on readers' strict attention. For one feature on a blind surfer, Carson opened with a two-page spread covered in black. A stint at HOW (a trade magazine aimed at designers) followed.
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In 1995, Carson left Ray Gun to found his own studio, David Carson Design, in New Ray Gun made Carson well York City. He started to known and attracted new attract major clients from all admirers to his work. In this over the United States. period, he was featured in During the next three years publications such as The (1995–1998), Carson was New York Times (May 1994) doing work for Pepsi Cola, and Newsweek(1996). Ray Ban (orbs project), Nike, Microsoft, Budweiser,
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Carson's cover design for the first issue was selected He named and designed the first issue of the adventure lifestyle magazine Blue, in 1997. David designed the first issue and the first three covers, after which his assistant Christa Smith art directed and designed the magazine until its demise.
as one of the "top 40 magazine covers of all time" by the American Society of Magazine Editors. In 2000, Carson closed his New York City studio and followed his children to Charleston, South Carolina, where their mother had relocated them.
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2 0 0 4 , C a r s o n became the Creative Director of the Gibbes Museum of Art in Charleston. That year, he also designed the special "Exploration" edition of SurďŹ ng Magazine and directed a television commercial for UMPQUA Bank in Seattle, Washington.
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In 2010 Carson worked as worldwide creative director for Bose Corporation. He also served as Design Director for the 2011 Quiksilver Pro SurďŹ ng contest in Biarritz, France, and designed the branding for the 2011 Quiksilver Pro in New York City. He designed a set of three posters for the San SebastiĂĄn International Film Festival in Spain and the covers for Huck and Little White Lies magazines.He was featured in 2011 in interviews in Vice magazine and Monster Children, as well as large features in Spain and Portugal's largest newspapers. Carson designed the cover of the summer 2011 "Time based Art" issue and catalogue of The Portland Mercury. He was invited judge the Europena Design Awards in London (DD+A) in both 2010 and 2011. Since 2010, he has lectured, held workshops and exhibitions across Europe, South America and the United States.
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In a feature story, Newsweek magazine said he "changed the public face of graphic design". His layouts featured distortions or mixes of 'vernacular' typefaces and fractured imagery, rendering them almost illegible. Indeed, his maxim of the 'end of print' questioned the role of type in the emergent age of digital design, following on from California New Wave and coinciding with experiments at the Cranbrook Academy of Art.
W h e n Graphic Design USA Magazine (NYC) listed the “most influential graphic designers of the era” David was listed as one of the all time 5 most influential designers, with Milton Glaser, Paul Rand, Saul Bass and Massimo Vignelli. Carson claims that his work is "subjective, personal and very self indulgent". Design writer Steven Heller has said, "He significantly influenced a generation to embrace typography as an expressive m e d i u m " . Design educator and historian Ellen Lupton said after the release of Carson's book Trek, "David Carson continues to be one of the world's most d i s t i n c t i v e typographic much imitated,
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but never matched" (ID Mag.nyc).AIGA(the American Institute of Graphic Arts) called Carson "our biggest star". The magazine Eye produced a graphic chart showing Carson to be the most 'Googled' graphic designer ever. Carson continues to lecture extensively throughout the world.
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b o r n September 1954) is American gra designer, art dire and surfer. He is known for innovativ magazine design,
David Carson ( S ebpot ermn8,ber 1954) is an American gdesigner, raphic adirecr t tor
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Carson (born September 8, 1954) is a n Americ a n graphic designer, a r t director and surfer. He is best known for h i s innovative magazine design, and use of experimental typography. He was the art director for the magazine Ray Gun, in which he employed much of the typographic and layout style for which he is known. Carson was perhaps the most influential graphic designer of the 1990s. In particular, his widely imitated aesthetic defined the so-called "grunge Carson was September 8, 1954 in T e x a s . He attended San Diego graduating with a S o c i o l o g y . Carson's first contact with 1980 at the University of week graphics course, B o e l t s . From 1982 to 1987, teacher in Torrey Pines Diego, California. During also a professional surfer, was ranked as the 9th best w o r l d . In 1983, Carson started to with graphic design and himself immersed in the and bohemian culture of California. He attended Oregon College of cial Art. That year, he went Switzerland to attend a workshop in graphic design his degree. The teacher of the Hans-Rudolf Lutz, became his fi
Carson became th
Who are you and what do you do?David Carson. Graphic Design.
Can you think of a sentence that sums up Ray Gun?No.
What do you think it is thatHmmm. Maybe that I don’t sets you apart from everyhave any formal training. designer/creative out there?Maybe that I try and work intuitively and pull from my own background, trust my intuition. Anyone can do this, and it makes for your best work, and having more fun doing it. Trust your intuition. Nobody else can copy that.
n 8, an aphic ector best his ve e
If I was to walk into your office what vibe would I get?Messy. Casual. Informal. Friendly. Cool stuff on the walls and floor. A wide variety of music.
Are there any embodying principles that Ray Gun“Trust yer gut” + “Why not?” operates under?
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Carson worked as a High School in San that time, he was and in 1989 he surfer in the
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How do you keep pushing the boundaries with design?By not trying to do so. Just push yourself, for personal growth, growth that represents where you are in your life, whats important to you, and the work should follow. I never set out to break rules or push boundaries, just to do what makes sense to me.
Steve and Debbee Pezman, publishers of Surfe magazine (and late Surfers Journal) tapped Carson to des Beach Culture, a quarterly publication evolved out of a to-the-trade ann supplement. Though quarterly issues produced, the tablo venue edited by aut Fineman allowed Ca make his first signific on the world of grap and typography with were called innovat those that were not work, inonwhich legibil readers' st For one
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