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new york
slanted 26 visits and authors 2×4, Jonathan Auch, George Bates, Lucas MRKA Benarroch, Nicholas Blechman, Jon Burgerman, Joshua Darden, Stephen Doyle, Everything Type Company, Louise Fili, Milton Glaser, Jon Han, Steven Heller, Gonzalo Hergueta, Jennifer Heuer, Paul Hoppe, Philipp Hubert, Mirko Ilić, Ken Johnston, karlssonwilker, MyORB, Chad Kloepfer, Christine Lhowe, Alex Lin, Ian Lynam, Dannell MacIlwraith, Alex Eben Meyer, Wael Morcos, Silas Munro, MTWTF, Joe Newton, Open, Original Champions of Design, Other Means, Pentagram, Jesse Ragan, Dan Rhatigan, Edel Rodriguez, Sagmeister & Walsh, Paul Sahre, Shutterstock, Small Stuff, Sara Soskolne, Jessica Svendsen, Lauren Tamaki, The Arm Letterpress, Alexander Tochilovsky, Richard Turley, Diego Vainesman, Carol Wahler, Jing Wei, Lance Wyman
video interviews slanted.de/nyc
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Milton Glaser in his studio
M i l t o n G l a s e r I n c . 2015 → 249
3 I Love NY
M i l t o n G l a s e r I n c .
Campaign. Client: New York State → 249
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Lance Wyman in his studio
L a n c e W y m a n L t d . 2015 → 253
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Tlalteloco Memorial, Mexico City
L a n c e W y m a n L t d .
Logo, 2014 → 253
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USA World Cup
L a n c e W y m a n L t d . Posters designed and submitted within 90 minutes after each USA game → 253
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Studio view / Lance Wyman retrospective exhibition at MUAC, Mexico City
L a n c e W y m a n L t d .
Poster, 2014 → 253
18 18
Jazz is Killin’ Season 05-06 Poster
o r i g i n a l c h a m p i o n s o f d e s i g n Client: Jazz at Lincoln Center, 2005 → 251
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Studio view, Hillary For America Bumper Sticker
o r i g i n a l c h a m p i o n s o f d e s i g n
Design: Hillary for America Design Team, 2015 → 251
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Platform Summit
PENTA G R A M Eddie Opara & design team, 2014 → 251
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Eddie Opara at Pentagram meeting room
PENTA G R A M
2015 → 251
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In the archives
H e r b L u b a l i n S t u d y C e n t e r 2015 → 253
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In the archives
H e r b L u b a l i n S t u d y C e n t e r 2015 → 253
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Advertising, Branding / Identity for Frooti
S a gm e i s t e r & Wa l s h Stefan Sagmeister (CD), Jessica Walsh ( CD, AD, Design) & design team → 252
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Advertising, Branding / Identity for Frooti
S a gm e i s t e r & Wa l s h
Stefan Sagmeister (CD), Jessica Walsh ( CD, AD, Design) & design team → 252
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Identity, packaging, merchandise, and video for gusgus’ latest album and world tour
→ 250 k a r l s s o n w i l k e r i n c 2014 .
65 Studio view
k a r l s s o n w i l k e r i n c .
Hjalti Karlsson, 2015 → 250
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Studio view
STEVEN HELLER 2015 → 249
83 Studio view
STEVEN HELLER 2015 → 249
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Perfetto Pencils
→ 248 L o u i s e F i l i L t d 2014 .
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Louise Fili in her studio
→ 248 L o u i s e F i l i L t d 2015 .
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Studio view
D o y l e Pa r t n e r s 2015 → 248
97 Studio view
D o y l e Pa r t n e r s
2015 → 248
108
ECNALUBMA. Music video for the band They Might Be Giants, 2015
Pa u l S a h r e I n c . Paul Sahre, 2015 → 252
Former Planet Pluto. Illustration for the New York Times Magazine, 2006
Pa u l S a h r e I n c .
Mau Mauing the Flesh Eaters. Illustration for the New York Times Magazine, 2009 → 252
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Lucie Kim
M y ORB Studio view, 2015 → 250
117 Film for Nishiyama Silk
M y ORB
Creative Direction by Lucie Kim. Various project members, 2014 → 250
120
Studio view
J ON BUR G ER M AN 2015 → 248
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Catalogue photo for the Kirkby Design Ă— Jon Burgerman 2015 fabric collection
J ON BUR G ER M AN
Image by Kirkby Design → 248
126
Mascot for the new adventure magazine Avaunt
n i c h o l a s b l e c h m a n 2015 → 247
127
Studio view with Nicholas Blechman
n i c h o l a s b l e c h m a n 2015 → 247
136
Studio view
J ESSE R A G AN 2015 → 252
137
Bad / Good lettering for Michael Freimuth, Matériel Magazine
J ESSE R A G AN
2015 → 252
BETTMANN CORBIS
→ 250
WEE GEE With the valuable help of Ken Johnston at Bettmann / Corbis we proudly present unknown images by Arthur Fellig, known as “Weegee,” the cigarsmoking photographer of New York crime, disasters, and urban squalor. One of the beach shots is very well known—we show a few outtakes, including some infrared night shots from under the boardwalk. Some believe he may have gotten the name “Weegee” from the days when he worked in the darkroom at Acme, “Weegee” sounding something like squeegee, the tool used to wipe the water off prints. Others think he got his nickname from the fortunetelling game of Ouija, for his uncanny ability to be the first at the scene.
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New York Photographer “Weegee,” July 27th 1945, image by © Bettmann / CORBIS
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On the Beach at Coney Island, July 1940 People sleeping on the beach and under the boardwalk at Coney Island during the massive heat wave.
→ 321
Jonathan Auch
→ 247
IN THE STREET Jonathan Lucas Auch was trained as darkroom printer, working three years as the exhibition printer and assistant for James Nachtwey. He also worked as the assistant to Bruce Gilden. As a freelance photographer, Jonathan works both on the street and producing photo / video reportage on a variety of stories which focus on political, cultural and emotional isolation, alienation, loneliness, racism, and discrimination.
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Fontnames Illustrated
WE ARE NY We asked artists we cherish to illustrate a fontname. A wonderful way to dig into history, or to give an interpretation to well know places in New York. We met Jennifer Heuer and Paul Hoppe in their studio in “The Pencil Factory.” The corporate offices of the Eberhard Faber pencils corporation used to be there. Built in the 1920s, it was vacated when the company shut down and moved to Wilkes-Barre, PA in 1952. It now gives place to a loose collective of illustrators, designers, artists, and other creative people, who share studios in the historic building, hoping that gentrification won’t make this place unaffordable.
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10 × 10
10 questions and 100 answers
2 × 4 Joshua Darden ETC Philipp Hubert Alex Lin MTWTF Joe Newton Other Means Dan Rhatigan Sara Soskolne
10 × 10 → 247–252
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1
MTWTF (Aliza Dzik) I’m from the Bronx. I studied French and Hebrew literature while simultaneCould you talk about your background? ously becoming a designer. Where are you from? (Glen Cummings) Great question. I guess I could describe my background as if I were 2×4 Georgie is from East Hampton, New York and planning an MTWTF studio portrait for your studied graphic design at RISD before working magazine: The MTWTF staff together in as a book designer in New York City. Michael the foreground and the room where we work in the background. We might have to clean is from Rhode Island and studied English it up a bit first. Or maybe I could describe my Literature before going to RISD for Graphic background in the psychological sense: My Design and then on to teaching design at foreground being the things I am consciously Yale School of Art and Columbia University. thinking about and doing right now (writing this email, preparing presentation, talking to Joshua Darden I was born and raised in the Valley, suburban designers), and my background being the LA. I published my first typeface at age fifteen things that are churning on a subconscious level (anxieties about my relationships, profesand never looked back. sional ambitions, random aspiration and fears) that are continuously influencing the things ETC that are happening in my foreground. Geoff grew up in rural northern Maine, but he was born in North Carolina. He played basketball, raked blueberries, and learned to appreciate the outdoors. An early obsession with lobster buoys may have triggered an interest in graphic design, and later became a topic of research in graduate school. Kyle was also born in North Carolina in a small town of Maxton. His grandmother, who was a master basket weaver, taught him to draw and inspired his love of craft. He later turned to skateboarding whose visual culture spearheaded his interest in graphic design. We were introduced while students at North Carolina State University College of Design by a mentor, Tony Brock, who was a hugely influential teacher to us both. Philipp Hubert I am from Germany and studied at Art Academy Stuttgart where I met my studio partner Sebastian Fischer who runs the other part of the studio in Berlin. We founded our studio and had our first clients while we’re students. After I graduated I came to New York for an internship at Sagmeister Inc. (now Sagmeister & Walsh), to also take a break before going back to Germany, because I knew the city and liked it a lot. It was not the first time I lived in New York as I was here as a student doing an internship for Karlssonwilker Inc. Alex Lin I was born in Taiwan and came to the United States around the age of two. I’ve lived up and down the East coast and currently reside in Park Slope, a neighborhood in Brooklyn.
10 × 10 → 247–252
MTWTF, Brooklyn Museum signage, 2015. Photo by Matt Marquez
Joe Newton I grew up in Seattle. From a young age I knew I wanted to be an “artist” but it took me a lot of years to figure what that meant to me. My parents were in the sciences, and so they didn’t really know what do with an “artist,” and just let me do whatever I wanted. There was always a lot of music in the house; very eclectic. I get a lot of my creative energy from that world. I was in choir when I was young, then started a band in high school. That band represented the first venue for my artist talents, creating posters and stickers. One of my posters ended up in Art Chantry’s “Instant Litter” book. Art certainly was one of my important early influences.
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(Glen Cummings) I assume the reason you are asking designers about the city is that you believe the city is being continually redesigned, rather than redefined, and that more and more graphic designers are playing a role in that redefinition, by shaping the narrative vision of what will happen. I agree and this is what I find exciting about being here at this point in time. I am invested in this definition of what designers do. Joe Newton The challenge for me is often balancing the friction between inspiration and depression. There are endless opportunities to hear some of the world’s great talents speak or perform. That’s inspiring. But the flipside is you end up comparing yourself to these star talents. It’s easy to feel inadequate. I often can feel both of these emotions at the same time. It’s like spending too much time on social media and feeling like everyone else’s life is more exciting and glamorous than your own.
Anderson Newton Design, Outside the Box, 2015. 40 case studies about hand-lettered product packaging, including firms big and small from around the world
Other Means New York’s constant redefinition is completely due to external influences. New people move here all the time, and make the city over in their image. Recently, this has led to a commercialization and corporatization of nearly everything—including cultural institutions. But due to the constant change, even this phase won’t last forever. It’s exciting to see the layers and remnants of these changes that
10 × 10 → 247–252
stick around as the city moves on to the next thing. We’re looking forward to nostalgia for Olive Gardens and Citibikes. Dan Rhatigan Oh, I think there have been plenty of external influences that have shaped New York over the years, particularly that last decade or two. What I find exciting is how well New York reinvents itself. When I first moved to England, I moaned—like many New Yorkers do—about how New York just wasn’t as good as it used to be. After a while away, I realized that it has ALWAYS changed regularly, and always will—and there’s always new and interesting things here, even if they’re a different batch. If I have any nostalgia, it’s for who I was when I first encountered different things here over the years. Sara Soskolne For me—in addition to the architecture, the streetscapes, the sense of history, and (having grown up in a very grey place) the prepon derance of bright, crisp sunlight—it is undoubtedly the people. Although it is becoming a more sanitized version of itself with every passing day, the cast of characters you still encounter in this city, from the dueling proselytizers and b-boys on subway cars to the orthodox jews jogging the Prospect Park loop in their black oxfords, wool trousers and crisp white shirts when it’s 90 degrees out, never ceases to warm my heart. That said, I’m not one of those people who thinks New York is the center of the universe and can’t imagine living anywhere else. It’s an extraordinary city, but the world is full of other places that are equally extraordinary in completely different ways. I hope I won’t have my NYC privileges revoked for saying that!
6 Andy Warhol said this about New York: “Living in New York City gives people real incentives to want things that nobody else wants.” How do you feel about that statement? 2×4 Because it’s so big, and there are so many creative people doing things here, there are many levels of convolution: new ideas are generated quickly spawning multiple reactions and counterproposals. Therefore it can
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distinction, and “wanting things nobody else wants” is standard operating procedure in both cultural production and commerce. (Aliza Dzik) The rest of the Warhol quote is as follows: “—to want all the leftovers things. There are so many people here to compete Joshua Darden Andy Warhol was the Mark Twain of the 60’s. with that changing your tastes to what other This is a great example of either of them at his people don’t want is your only hope of getting anything. For instance, on beautiful sunny best: catchy and repeatable nonsense. days in New York, it gets so crowded outside you don’t even see Central Park through all ETC the bodies. But every early on Sunday mornWe can understand where that idea might come from, but we don’t think we want things ings in horrible rainy weather, when no one that are all that unusual: to live well, do great wants to get up and no one wants to get out work, and be happy. That’s definitely not easy even if they are up, you can go out and walk all over and have the streets to yourself and to do all three of those things all the time. it’s wonderful.” That’s enough for us. seem like the city is on a different wavelength. As described before, NY can be self-involved, it’s like playing a game where no one else knows the rules or understands the point.
Joe Newton Perhaps that relates to the challenges of the city. Because you are forced to behave differently to survive and compete, you also want different rewards / results. That said, I think most people really want the same things: love, acceptance, security … food, shelter. Other Means This, from a man who threw all of his junk in boxes that people are still sifting through!?
ETC, The Fader, 2014 / 2015. Creative Direction and Design
Philipp Hubert This might be true for some people, but depends on your attitude and how much you let it influence from things surrounded by you. Other Means, Goethe-Institut New York, 2015. Half-letter, 4-color offset
Alex Lin I’m not really sure what he meant … MTWTF (Glen Cummings) Warhol is so facile at using vagueness to seem prophetic—something I assume he learned during his days as an illustrator / designer. What’s most interesting to me is that Warhol said this when NYC was understood as a place rather than the global brand. In 2015 “Living in New York” is a lifestyle choice rather than a geographic
10 × 10 → 247–252
Dan Rhatigan It’s true. There are few other places where you’d put so much effort into securing such tiny slices of privacy to call your own, while making sure you had access to so much else. Sara Soskolne I think it’s absolutely true, in both the senses that he talks about in the larger context of that quote. First, in the sense that, especially
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2
Typographic MAD
Steven Heller Typographic inspiration comes from many sources. Steven Heller found his in the pages of his childhood humor magazine that taught him good typography is not always good type.
Steven Heller → 249
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Everything I know about type, typography and especially typographic tomfoolery I learned from MAD, the New York based humor magazine where comic irreverence flourished during the dreary Fifties in postwar America. MAD’s satiric comics significantly influenced radical Sixties underground commix artists, while its cluttered, though disciplined, layout was the model for untutored underground newspaper “designers,” like me. I didn’t need no fancy degree from Yale University, I just copied how it was done in MAD. MAD’s design was not based on less is more modernism—the typefaces were often goofy novelties or functional workhorse gothics and slab serifs used on pages packed with visual stuff that sometimes overflowed into the margins. White space was anathema, but MAD’s format was the perfect frame for the wild cartoon parodies of popular movies and TV shows and libelous lampoons of MADison Avenue’s iconic yet cloying ads that filled the magazine. MAD began as a comic book in 1952 with the legendary artist Harvey Kurtzman as founding editor and continued to publish at that scale for 23 issues until the industry’s self-policing arm, the Comics Code Authority, imposed its prescription for sanitized comics content and rejected anything that threatened American values. MAD was indeed a threat to complacency and status quo. So, in 1955 publisher William Gaines folded MAD, the comic, and launched MAD, the magazine, with a permanent logo, regular departments and identifiable mascot, Alfred E. Neuman—the awkwardly large-eared, freckled-face goon with a missing tooth and moronic grin— whose motto, “What me worry?” became a mantra of a generation. Once MAD gave up its comic book status, it was no longer subjected to the reactionary restrictions imposed by the Comics Code and was free to be as mad as the law allowed, and then some. MAD deflated the pompous, undermined folly and advocated the idea of “humor in a jugular vein.” Since nothing was sacred, advertisers never bought space, worried they would be targets for parodies. The first typographical component to capture my eye was Kurtzman’s hand drawn bifurcated Tuscan logo that has identified MAD for over half a century. It exists to this day and has equally high recognition value even next to magazines like Time, Vogue and Playboy. As a magazine of primarily comic strips, cartoons and manipulated photos, MAD’s interior typography
Steven Heller → 249
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by-semester basis — Collective engagement on all fronts that is designed to eschew both passive and critical forms of communication in lieu of a combined, comprehensive approach One of the tricks of engaging writing in the current moment is the use of lists. Lists are prose trickery (see earlier). We offer more at VCFA than bullet points and abstraction. We offer community, friendship, enhanced professional acumen, focus, exploration, and an enhanced working design vocabulary of both a conceptual and practical nature. VCFA is what one makes of it, and nearly every graduate to date has done a bang-up job. At the end of the day, that is what Graphic Design is: a synthesis of conceptual / thematic ideation and visual form. Our alumni have left the school in recombinant forms of their past desires. Our current students are currently in different levels of transformation. Our faculty? Well, they’re the most transformed of all. A greater camaraderie and level of mutual professional and personal respect has never been seen before on a college campus, and that is no hyperbole, buddy. Collectively, no other graduate school in the world offers what we have. It sounds silly, but it is ... and it isn’t. The result of an education at VCFA is one that is organic—it allows one to connect with the world around them in heretofore-unseen ways, and in a panoply of forms. What we have done as a collective community is immense, and perhaps the craziest thing is that it all just started five years ago. VCFA spans countries, time zones, age limits, preconceptions, and fears. At VCFA, there is the desire to make awesome stuff, in the biblical sense of the term—to improve, to change, and to ensure that an allaround collective sense of investment makes this happen. It’s the result of hard work and the social contracts each of us enters into every semester and beyond, and how that reverberates into the world. When I moved to California, one of the rallying cries was from a wildly unpopular punk band from Berkeley, California named Blatz. One of their least popular songs was called Fuk New York, wherein which they belittled every element of the hormone-driven New York music scene in the 90’s, a sentiment I could not have agreed more with at age 19. And a sentiment that I am more at home with now than ever. Fuck the
Ian Lynam → 250
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established. Let’s make life weirder. Let’s make it have personal meaning and let culture catch up. Let’s escape New York, or at least our preconceptions of what it is.
Ian Lynam → 250
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Advertisement for The Silence = Death Project used by permission by ACT-UP, The AIDS Coalition To Unleash Power. Color lithograph, 1987.
Silas Munro → 251
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Index
↗ P 178–192
2×4 / New York City, NY (US) 2x4.org, iiwii.org Founded in 1994, 2×4 is a global design consultancy based in New York with studios in Beijing and Madrid. By distinguishing brand strategy as a key initiative in their work, they develop and articulate the fundamental ideas that express our clients’ core values. Their intellectual and creative conviction is that thoughtful design can make an essential contribution to every level of cultural discourse. Photo by Brigitte Lacombe.
↗ P 130–133, 163 ↗ Interview: slanted.de/nyc
George Bates / Brooklyn, NY (US) George Bates Studio, georgebatesstudio.com George Bates is a Brooklyn based artist who has collaborated with: Virgin Mobile, MTV, The New York Times, Nickelodeon, Epic Records, David Carson & more. He has two permanent public art pieces for the NYC MTA and he created and teaches a sketchbook class at Parsons. His recognitions include the Art Directors Club, American Illustration, Society of Illustrators and Society of Publication Designers.
↗ P 29, 32 / 33, 44–49 ↗ Interview: slanted.de/nyc
Michael Bierut / New York City, NY (US) Pentagram, pentagram.com Michael Bierut began his career working with Massimo Vignelli at Vignelli Associates, where he worked for ten years before joining Pentagram as partner in 1990. He is a renowned designer whose work encompasses identity, environment, packaging and print design. His clients have included Saks Fifth Avenue, The New York Times, Yale University and the NYC Department of Transportation.
Index
247
↗ P 1, 150–159
Jonathan Auch / Brooklyn, NY (US) jonathanauch.com Jonathan Auch is a street photographer known for his gritty urban imagery. Born in New York City, he has long been inspired by this tough metropolis that forms the backdrop for most of his work. Jonathan’s photographs have appeared in many publications, including Vice, Rangefinder and The New York Times, and have been exhibited internationally.
↗ P 208–215
Lucas MRKA Benarroch / New York City, NY (US) / emerreka.com Lucas MRKA Benarroch is a New York City-based designer and artist from Madrid. His passion for precision can be seen throughout his work. His designs are versatile in both style and medium. His work has been featured at galleries in Madrid, NYC and Miami including Wallplay, Gregg Shienbaum Fine Art and Joseph Gross Gallery. His commercial work includes clients such as HBO, Pepsi and The Wutang Brand. Photo by Laura Cartagena.
↗ P 126–129 ↗ Interview: slanted.de/nyc
Nicholas Blechman / New York City, NY (US) / nicholasblechman.com Nicholas Blechman is the Creative Director of The New Yorker, and the former Art Director for The New York Times Book Review. He broke into the field of design with his award-winning political underground magazine NOZONE. He is a Rome Prize Fellow and the illustrator-author of the interactive blog Food Chains on nytimes.com. Blechman lives with his wife and son in Brooklyn. Photo by Kathy Ryan.
Slanted 26 – NYC
Publisher
Production
Slanted Publishers Leopoldstraße 33 76133 Karlsruhe Germany T +49 (0) 721 85148268 magazine@slanted.de slanted.de
Print Stober GmbH Druckerei und Verlag Industriestraße 12 76344 Eggenstein Germany T +49 (0) 721 97830-0 F +49 (0) 721 97830-40 info@stober.de stober.de
Slanted Magazine #26 New York
Paper cover Algro Design, 240 g/sm Paper inside FLY cream 02, 130 g/sm FLY weiß 05, 100 g/sm FLY extraweiß 06, 115 g/sm FLY schneeweiß 07, 115 g/sm Galaxi Keramik, 115 g/sm Galaxi Keramik, 135 g/sm Booklet Prestige Opak weiß, 70 g/sm Distributed by Papier Union GmbH Osterbekstraße 90a 22083 Hamburg Germany T +49 (0) 40 41175-0 info@papierunion.de papierunion.de Paper Consulting Center North/East Germany: T +49 (0) 40 72708111 Mid/West Germany: T +49 (0) 40 72708116 South Germany: T +49 (0) 40 72708114 or send an email to beratung@papierunion.de
Editor in chief (V.i.S.d.P.) Lars Harmsen Managing editor Julia Kahl Asistance Leopold Lenzgeiger Art direction Lars Harmsen Graphic design Julia Kahl Assistance graphic design Carlotta Spielmannleitner Graphic design Contemporary Typefaces Leopold Lenzgeiger Photography New York Lars Harmsen, Jochen Sand Video editing Hannah Schwaiger ISSN 1867-6510 Frequency 2 × p. a. (Spring / Summer, Autumn / Winter) Slanted weblog Editor in chief (V.i.S.d.P.) Lars Harmsen Managing editor Julia Kahl Editors slanted.de/redaktion
Spot colors HKS Warenzeichenverband e. V. Sieglestraße 25 70469 Stuttgart Germany T +49 (0) 711 9816-608 F +49 (0) 711 9816-341 info@hks-farben.de hks-farben.de Cover HKS 14 K Inside HKS 34 N
Video interviews slanted.de/nyc
Fonts The publisher assumes no responsibility for the accuracy of all information. Publisher and editor assume that material that was made available for publishing, is free of third party rights. Reproduction and storage require the permission of the publisher. Photos and texts are welcome, but there is no liability. Signed contributions do not necessarily represent the opinion of the publisher or the editor.
Caponi Collection, 2014 Design: Miguel Reyes, Christian Schwartz, Paul Barnes Label: Commercial Type / commercialtype.com
Copyright © Slanted, Karlsruhe, 2015 All rights reserved.
Suisse Int’l / Neue / Works, 2011 Design: Swiss Typefaces Design Team Label: Swiss Typefaces / swisstypefaces.com
Imprint
Gibbs, 2014 Design: Greg Shutters Label: Typetanic Fonts / typetanicfonts.com
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Sales and distribution
Acknowledgement
Slanted magazine can be acquired online, in selected bookstores, concept stores and galleries worldwide. You can also find it at stations and airports in Germany, Austria, Switzerland and the Netherlands. If you own a shop and would like to stock Slanted magazine, please get in touch with us.
This issue could not have been realized without the enthusiasm and support of all participants (alphabetical order): 2×4, Jonathan Auch, George Bates, Lucas MRKA Benarroch, Nicholas Blechman, Jon Burgerman, Joshua Darden, Stephen Doyle, Everything Type Company, Louise Fili, Milton Glaser, Jon Han, Steven Heller, Gonzalo Hergueta, Jennifer Heuer, Paul Hoppe, Philipp Hubert, Mirko Ilic, Ken Johnston, karlssonwilker, MyORB, Chad Kloepfer, Christine Lhowe, Alex Lin, Ian Lynam, Dannell MacIlwraith, Alex Eben Meyer, Wael Morcos, Silas Munro, MTWTF, Joe Newton, Open, Original Champions of Design, Other Means, Pentagram, Jesse Ragan, Dan Rhatigan, Edel Rodriguez, Sagmeister & Walsh, Paul Sahre, Shutterstock, Small Stuff, Sara Soskolne, Jessica Svendsen, Lauren Tamaki, The Arm Letterpress, Alexander Tochilovsky, Richard Turley, Diego Vainesman, Carol Wahler, Jing Wei, Lance Wyman. Thanks also to Sven Hoffmann, Paul Hoppe, Philipp Hubert and Joe Newton who recommended some of the studios we visited and people we met. A very special thanks goes to Diego Vainesman who helped us to meet and interview Milton Glaser and Lance Wyman. Thanks a lot to Lucas MRKA Benarroch and Gonzalo Hergueta for the limited edition of bookmarks which were cut out of original prints produced within their 83M80 project (see p. 208–215). We love it! They are available as a limited special edition at slanted.de/shop in a set with three colorful laser-cut type stencils, designed by Commercial Type, Jesse Ragan, and Village, and which have been produced by the Austrian specialist for laser-cutting, Titus Oberhammer and his team (deroberhammer.at). The colorful papers have been provided by Römerturm Feinstpapier (colorplanpapers.com) with the support of Miriam Weber and Petra Roß. Thanks so much! A big thank you to Hannah Schwaiger who edited the video interviews and thank you to Shutterstock for supporting us with video footage for the intros and outros of the video interviews. Thanks also to Thomas Appelius and Joachim Schweigert (Stober Druckerei und Verlag) and their printers for the wonderful printing—re-united again! We would also like to thank Gerrit Orm Rudolf and his team from Papier Union who supported us with this fantastic paper selection. A big hug to our friend and photographer Jochen Sand who came with us to New York City to document our journey. NYC rules!
Contact Julia Kahl, T +49 (0) 721 85148268 julia.kahl@slanted.de Slanted Shop (best!) slanted.de/shop Stores (all over the world) slanted.de/allgemein/stores Stations and airports IPS Pressevertrieb GmbH / ips-d.de International distribution Export Press SAS / exportpress.com Distribution Switzerland Niggli Verlag, niggli.ch / ISBN 978-3-7212-0941-9 Distribution US Ubiquity Distributors, Inc., / ubiquitymags.com Subscription Subscribe to Slanted magazine and support what we do. Magazines via subscriptions are at a reduced rate and get shipped for free directly at its release. slanted.de/abo National (DE) One year subscription, 2 mags: € 32 Two year subscription + premium, 4 mags: € 62 Gift subscription, 2 mags: € 32 Student subscription, 2 mags: € 26 Trial subscription, 1 mag: € 14 International One year Subscription, 2 mags: € 38 Two year Subscription, 4 mags: € 75 Advertising We offer a wide range of advertising possibilities on our weblog and in our magazine – print and online! Just get in touch. More information at slanted.de/mediarates Contact Julia Kahl, T +49 (0) 721 85148268 julia.kahl@slanted.de
The photography on the first page of this issue is part of Jonathan Auch’s Street Photography series → 150–159
We love New York!
Awards (Selection of design awards for publications by Slanted) ADC of Europe 2010, 2008 ADC Germany 2015, 2014, 2013, 2012, 2011, 2010, 2008, 2007 Annual Multimedia 2008, 2013 Berliner Type 2008 (Bronze), 2009 (Silver) Designpreis der BRD 2009 (Silver) European Design Awards 2011, 2008 Faces of Design Awards 2009 iF communication design award 2007 German Design Award 2015, 2014 (Special mention) Laus Awards 2009 Lead Awards 2008, (Weblog des Jahres), 2007 Lead Awards 2013, (Visual Leader / Silver) red dot communication design awards 2008 Type Directors Club NY, 2011, 2008, 2007 Tokyo Type Directors Club 2015, 2014 Werkbund Label 2012
Imprint
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Lars Harmsen and Bobby C. Martin Jr. / OCD
W e L o v e N Y C Photographer Jochen Sand, Carnival, Brooklyn, September 2015
New York, city of superlatives: eight million inhabitants, more than 500 galleries, 200 museums and 10,000 restaurants. World stars like Massimo Vignelli (American Airlines), Milton Glaser (I LOVE NY, Bob Dylan Poster) or Herb Lubalin (Avant Garde), Ed Benguiat (numerous type designs as well as logos for e. g. The New York Times, Playboy, Esquire) have shaped a generation. People like Stefan Sagmeister, Stephen Doyle, Alexander Isley, Scott Stowell or Emily Oberman came out of the studio of Tibor Kalman (Colors, Interview, Talking Heads). Slanted (David) took oneself to New York (Goliath) in September 2015 to meet the young generation of designers, typographers and artists who witness and shape the transition of the city. New York grew old and mainstreamed—it’s a miracle that it still works. The city has kept its speed and those who do not stick with it will be left over. The continuing speed is New York’s power; everyone living here wants to do or become something / someone. Nobody lives here without a good reason. Creativity is part of the fight for survival. Therefore Andy Warhol’s banana—originally designed for the Velvet Underground—suits much better to New York than the “big apple.”
This issue of Slanted Magazine goes along with additional video interviews which have been conducted by the Slanted team in September 2015 in New York. To watch videos scan QR code, or visit slanted.de/nyc
slanted 26 typography & graphic design
autumn / winter 2015 / 2016 issn 1867-6510 ch chf 25 de eur 18 uk gbp 18 us usd 28 others eur 21 26
slanted.de
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