mica intro to graphic design spring 2016 favorite designers zine

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Bradbury ThompsonLászló Moholy-NagyExperimental JetsetThe Heads of StateRobert Brownjohn

Alexey BrodovitchJessica HischeMilton GlaserCipe Pineles

John MaedaEddie OparaCorita KentAlvin LustigChip Kidd

Saul BassLouise Fili

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SAUL BASS

MILTON GLASER

ALEXEY BRODOVITCH

designed byZack Parker

designed byElena Kim

designed byAudris Park

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LAZLO MAHOLY-NAGY

designed byWinnie Lee

CIPE PINELES

ALVIN LUSTIG

LOUISE FILI

CHIP KIDD

ROBERT BROWNJOHN

designed byVivian Xiong

designed byJuliette Wang

designed byJinbo Huang

designed byHyejin Ahn

designed byKatie Hurley

BRADBURYTHOMPSON

designed byClaire Choi

designed byNatalie Hawkins

CORITA KENT

designed byFranka Del Santo

X/CO

NTEN

TS 100.02/X Spring 2015 is the second edition of a zine of MICA Introduction to Graphic Design students’ inter-

pretations of the work of their favorite historic or currently practicing graphic designers. It is published as a black and

white lo-fi print edition and a full-color digital edition.

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LOUISE FILI

CHIP KIDD

JOHNMAEDA

designed byJinbo Huang

designed byEsther Ko

EXPERIMENTAL JETSET

designed byLayla Choi

EDDIEOPARA

designed byNatalie Hawkins

JESSICAHISCHE

HEADS OF STATE

designed byRachel Dunn

designed byMorgan Smith

CORITA KENT

designed byFranka Del Santo

LÁSZLÓ

Laszlo Moholy-Nagy was born in 1895 in Borsod, a small village in southern Austria-Hungary. He first studied law in Budapest but the World War I interrupted Laszlo’s law studies, which he never fin-ished. In 1918, after the war, Laszlo em-barked upon his career as an artist.

Laszlo’s early paintings and drawings were very figurative and tended towards Expres-sionism. However, in 1920, his art became completely abstract and was strongly influ-enced by Russian Constructivism. Laszlo created a new method called “Photogram” which is a photographic image made with-out camera. Brightness of the image was depended on the exposure time. The lon-ger the silhouette was exposed, the brighter the image gets.

During 1923 to 1928, Laszlo worked in Bauhaus, which was pivotal in his career. Working experience in Bauhaus gave him opportunity to meet artists, art historians, museum curators and other members of the American and European Avant-Garde.From 1935 onwards he lived in London, untill in july 1937 he emigrated to Chica-go to direct a new design school based on the Bauhaus model; “The New Bauhaus: American School of Design”

The German Bauhaus was known as a school where new forms for industry were invented and thus it fit within a perception of cultural modernity that emerged in the United States by the late 1920’s. Moho-ly-Nagy’s leadership of this school insured a favorable public image. He was interna-tionally recognized as one of the major proponents of Constructivism.

NAGYMOHOLY

Being in charge of this school, he had to work with a group of capitalist business-men, whose values did not fully accord with his own. While art educators celebrated the school for its creativity, corporate executives were embittered because the school showed few results. This school closed after only a year because the association withdrew its suport. Moholy-Nagy himself decided to start a second school “The School of De-sign”, which survived until 1944 and was then renamed the “Institute of Design”.

Moholy-Nagy became seriously ill and was diagnosed with leukemia in November 1945. Despite X-ray treatment, he died in 1946.

"Design is not a Profession but an Attitude."

Alexey BrodovitchIn 1934, newly installed Bazaar editor Car-

mel Snow attended an Art Directors Club of

New York exhibition curated by 36-year-old

graphic designer Alexey Brodovitch. Snow

called it a revelation, describing "pages that bled

beautifully, cropped photographs, typogra-

phy and design that were bold and arrest-

ing." She immediately offered Brodovitch a

job as Bazaar's art director. Throughout his

career atthe magazine, Brodovitch, a Russian

émigré (by way of Paris), revolutionized maga-

zine design. With his directive "Astonish me,"

he inspired some of the greatest visual artists

of the 20th century (including protégés Irving

Penn, Hiro, and, of course, Richard Avedon) to

create legendary images.

Brodovitch’s signature use of white space, his

innovation of Bazaar’s iconic Didot logo, and

the cinematic quality that his obsessive crop-

ping brought to layouts (not even the work of

Man Ray and Henri Cartier-Bresson was safe

from his busy scissors) compelled Truman

Capote to write, “What Dom Pérignon was to

champagne ... so [Brodovitch] has been to ...

photographic design and editorial layout.”

Sadly, Brodovitch’s personal life was less tri-

umphant. Plagued by alcoholism, he left Ba-

zaar in 1958 and eventually moved to the south

of France, where he died in 1971. However, his

genius lives on. Thirty-six years later, the work

of Alexey Brodovitch never fails to astonish us.

1934-1958

“If an artist is to maintain his integrity, he must be responsible to himself; he must seek a public which will accept his vision, rather than pervert his vision to fit that public.” -Alexey Brodovitch

By Jenna Gabrial Gallagher“If you see something you have seen before, don’t click the shutter.” -Alexey Brodovitch

A LV I N

Alvin Lustig’s contributions to the design of

books and book jackets, magazines, interiors,

and textiles as well as his teachings would have

made him a credible candidate for the AIGA

Lifetime Achievement award when he was alive.

By the time he died at the age of 40 in 1955, he

had already introduced principles of modern

art to graphic design that have had a long term

influence on contemporary practice. He was in

the vanguard of a relatively small group who

fervently, indeed religiously, believed in the

curative power of good design when applied to

all aspects of American life. He was a generalist,

and yet in the specific media in which he excelled

he established standards that are viable today. If

one were to reconstruct, based on photographs,

Lustig’s 1949 exhibition at The Composing Room

Gallery, in New York, the exhibits on view and

the installation would be remarkably fresh,

particularly in terms of the current trends in art-

based imagery.

Lustig created monuments of ingenuity and

objects of aesthetic pleasure. Whereas graphic

design history is replete with artifacts that define

certain disciplines and are also works of art, for

a design to be so considered it must overcome

the vicissitudes of fashion and be accepted as

an integral part of the visual language. Though

Lustig would consider it a small part of his overall

output, no single project is more significant in this

sense than his 1949 paperback cover for Lorca: 3

Tragedies. It is a masterpiece of symbolic acuity,

compositional strength and typographic craft

that appears to be, consciously or not, the basis

for a great many contemporary book jackets and

paperback covers.

The current preference among American book

jacket designers for fragmented images, photo-

illustration, minimal typography and rebus-

like compositions can be traced directly to

Lustig’s stark black-and-white cover for Lorca,

a grid of five symbolic photographs linked in

poetic disharmony. This and other distinctive,

though today lesser known, covers for the New

Directions imprint transformed an otherwise

realistic medium—the photograph—into a tool

for abstraction through the use of reticulated

negatives, photograms and still-lifes. When

Lustig’s approach (which developed from an

interest in montage originally practiced by the

European moderns, particularly the American

expatriate E. McKnight Kauffer) was introduced

to American book publishing in the late 1940s,

covers and jackets were mostly illustrative and

also rather decorative. Hard-sell conventions

were rigorously followed. Lustig’s jacket designs

entered taboo marketing territory through his

use of abstraction and small, discreetly typeset

titles, influenced by the work of Jan Tschichold.

Lustig did not believe it was necessary to “design

down,” as he called it, to achieve better sales.

In the 1950s, Lustig decided to emigrate to Israel,

not from any religious conviction, but because

he believed that in this infant state good design

could exert a significant impact on society. But

Lustig died in 1955 before he had the chance to

test this theory. Instead, he left behind a body of

unique design that stands up to the scrutiny of

time, and models how a personal vision wedded

to modern form can be effectively applied in the

public sphere.

LOR

CA

: 3 T

RA

GE

DIE

S B

OO

K C

OV

ER

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49

ARTICLE BY THE AMERICAN INSTITUTE OF GRAPHIC ARTS

“Design is concerned with relationships and relationships are always good or bad, never neutral”

cipe pineles

today, women make up around half of the graphic design profession. But when Cipe Pineles was look-ing for her first design job, prospective employers were interested in her portfolio—until they learned that the unusual first name belonged to a woman.

She eventually became an assistant to Condé Nast’s art director Mehemed Fehmy Agha in 1932, and would expand her role there over the next 15 years. Designing for magazines like Vogue and Vanity Fair, she learned all about editorial design, art direc-tion, and European modernism. Agha pushed her to consistently outdo herself and to find inspiration in fine art. She became art director at Glamour in 1942, the first female to hold that position at a major American magazine.

She moved on to be art director at Seventeen, a magazine for teenage girls edited by Helen Valen-tine. While competing titles saw young women as frivolous husband hunters, Seventeen considered its readers smart and serious. By commissioning fine artists like Ad Reinhardt, Ben Shahn, and Andy Warhol to illustrate articles, Pineles rejected the idealized style typical of magazine illustrations at the time, and exposed her audience to modern art. As an artist herself, she was a hands-off art director. Her only request: that the artists produce illustra-tions that were as high in quality as their gallery work.

In 1950, Pineles became art director at Charm, a magazine targeting a new demographic: working women. She designed fashion spreads showing the clothes in use—at work, commuting, and running errands. “We tried to make the prosaic attractive without using the tired clichés of false glamour,” she observed in a later interview. “You might say we tried to convey the attractiveness of reality, as opposed to the glitter of a never-never land.”8 Her work helped to redefine the look of women’s magazines, while also furthering women’s changing roles in society.

Beginning in 1961, Pineles worked independently for such clients as Lincoln Center for the Per-forming Arts. From 1962 until 1987, she taught editorial design at Parsons School of Design, and directed the design of the school’s publications. Her approach to teaching was to focus on content, not style. During a career of many firsts, Cipe Pineles led with her work and she led by example.

Written by John Clifford

Became the first female art director of a mass-market American magazine

Inducted into the New York Art Directors Club and elected to its Hall of Fame as the first woman

BRADBURYTHOMPSON

“ I believe an avid interest in type necessarily includes a zest for everyday life.”

Bradbury Thompson (1911-1995) was truly one of the giants of 20th-century graphic design, and was recognized for his achievements by every major American design organization: National Society of Art Directors of the Year Award (1950), AIGA Gold Medal Award (1975), Art Directors Hall of Fame (1977) In 1983, he received the Frederic W. Goudy Award from RIT. A wonderful essay published by the Art Directors Club asks: “How did he become ‘architect of prizewinning books, consulting physician to magazines,’ pre-eminent ty-pographer, designer of stamps, multiple medalist? It all started in Topeka...”

He was born in 1911 in Topeka, where he attended Washburn College, graduating in 1934. After a brief period as a designer at Capper Publications, where he thoroughly learned every as-pect of printing production, Thompson moved to New York in 1938. Over the next sixty-some years he unfurled an aston-ishing talent and embraced every graphic design opportunity he could. He worked as art director at the Rogers-Kellogg-Stillson printing firm and then at Mademoiselle magazine, consulted and designed for Westvaco Corporation, designed a new alphabet, and began a teaching career at Yale University, where he stayed for many years.

His career was marked by many triumphs, but three stand out prominently as exemplars of his versatility. As the designer of more than 60 issues (1939-62) of Westvaco Inspirations, a promotional magazine published by the Westvaco Paper Cor-poration, he reached many thousands of typographers, print buyers, and students. He had an uncanny ability to merge and blend modernist typographic organization with classic type-faces and historic illustrations, all seasoned with affectionate sentiment and impeccable taste. Working with modest re-sources, he saw himself as teacher and guide:

“The art of typography, like architecture, is concerned with beauty and utility in contemporary terms... the typographic designer must present the arts and sciences of past centuries as well as those of today... And although he works with the graphics of past centuries, he must create in the spirit of his own time, showing in his designs an essential understanding rather than a labored copying of past masters.” (from West-vaco Inspirations 206, 1956).

Another triumph came with the publication of The Washburn College Bible, the most monumental and innovative reassess-ment of bible typography since Gutenberg’s own edition ap-peared in 1455. Some ten years in the making, the WCB pre-sented the text in cadenced phrases, such that its meaning for both reader and listener was conveyed through typography. Set in Jan Tschichold’s Renaissance-flavor typeface Sabon and fea-turing chapter openings with beautiful reproductions of paint-ings based on biblical stories, the WCB respects the long and inspiring history of this sacred Christian text even as it breaks new ground.

A third area of interest was contemporary postage stamp design. Though credited officially with more than 90 stamps of his own, he consulted with the U.S. Postal Service in guiding the design of many others. Many of his designs became iconic snapshots of American history and culture, including the famous “Learning never ends” stamp of 1980 with its colorful Josef Albers paint-ing, and the irrepressibly jaunty “Love” stamp of 1984.

Bradbury Thompson died in 1995 as one of the most genuinely admired and influential graphic designers of the 20th century.

Robert Brownjohn

Robert Brownjohn in the early 60’s began to change graphic design forever. Until then titles and images had existed om different worlds. The words used

to describe a film or an object in a picture had been separated and acted almost as subtitles for the image itself. Brownjohn broke those barriers and changed not only the nature of graphic design but also the accepted relationship between words and images. Some of Robert Brownjohn’s most notable works are the Rolling Stones “Let it Bleed” cover, title for Goldfinger, his published work in vision in motion and his various freelance work. Along with his professional career Robert Brownjohn was also a professor for several institutes. The list includes: Chicago Institute of Design, Pratt and Cooper Union. Although, his professional and academic life where quite with a thriving drug addiction his personal life suffered immensely. His wife Donna Walters and daughter Eliza left him in 1962. In 1963 he begins his relationship with Kiki promising age of 45.

1925-1970

By: Katie Hurley

Saulbass

"“design is thinking made visible.”"

by training and profession, Saul Bass was a graphic designer who filled the American landscape with such designs as Exxon service stations and the jars for Lawry’s seasonings. But it was in the movies that he made his most lasting impact, as the man who invented the opening credit sequence as a free-standing movie-before-a-movie and elevated it into an art.

Movies had always had opening credits, but until “The Man With the Golden Arm,” in 1955, they were little more than perfunctory afterthoughts rarely more creative than having the names of the movie’s stars and production staff revealed by the turning pages of the book.

But when Bass designed a grotesquely deconstructed arm for Otto Preminger’s movie, about heroin addiction, and Mr. Prem-inger accepted his idea of using the arm as the moving focus of the opening credits, a mini-genre was born.

The jagged arm was such a powerful symbol of addiction, Bass once said, that when “The Man With the Golden Arm,” opened in New York, a poster depicting the arm served as the only ad-vertising. When Mr. Preminger learned that projectionists were in the habit of running the credits on a curtain as latecomers were finding their seats, he ordered that they wait until the curtains were opened.

Bass, who designed his first credit sequence for Mr. Prem-inger’s 1954 movie, “Carmen Jones,” was not the chief practitio-ner of the art he invented. While Nina Saxon, for example, has more than 100 titles to her credit, Mr. Bass produced only 42 and a dozen with his wife, Elaine, but they tended to be memorable.

He designed the segmented body for “Anatomy of a Murder”; had an aerial camera swoop across Manhat-tan before zooming in on a schoolyard at the beginning of “West Side Story,” and set a black cat walking through the titles of “Walk on the Wild Side.” In what was perhaps his most daring innovation in opening credits, he created a reprise of the story of “Around the World in 80 Days” in a 20-minute sequence that did not run until after the movie.

Bass, who did the titles for Alfred Hitchcock’s “Vertigo” and “North by Northwest,” did even more for “Psycho.” The director had become so impressed by Mr. Bass’s work that he recruited him to help plan the famous 70-shot shower sequence of this 1960 film. The same year he also helped Stanley Kubrick design the final battle scene in “Spartacus.”

Moviegoers may have thought that Bass had retired by the 1980’s, but while he stopped producing title sequences he stepped up his work for corporate America, adding to a list of credits that included trademarks and corporate identifi-cation for A.T.&T., the Bell System, Minolta and Quaker Oats. For United Airlines, Bass designed virtually every image used by the company, including the very airplanes. He won such wide acclaim that he was sometimes called “the Picasso of commercial artists,” and his work was included in the permanent collections of the Museum of Modern Art and the Smithsonian Institution.

article by robert mcg. thomas jr.

MILTON GLASER

Few designers evoke as much praise from their eminent peers as Milton Glaser. Over the last five decades, he has been one of the most internationally renowned and highly influential figures in design. Vastly prolific, his versatility as a practitioner spans many design disciplines, including graph-ics, exhibitions, interiors, furniture and products.

To many, Milton Glaser is the embodiment of American graphic design during the latter half of this century. His presence and impact on the profession internationally is formidable. Immensely creative and articulate, he is a mod-ern renaissance man—one of a rare breed of intellectual designer-illustrators, who brings a depth of understanding and conceptual thinking, combined with a diverse richness of visual language, to his highly inventive and individualistic work.

Having initially trained as a classical fine artist, his historical roots in design were as co-founder of the New York-based Pushpin Studio in 1954, with Seymour Chwast, Edward Sorel and Reynold Ruffins. In Pushpin, Glaser was in the vanguard of a movement that reacted against the strict authoritarian-ism and austerity of modernism.

Exploring and re-interpreting the visual material of previous era’s of both fine art and commercial art, (including that of Victoriana, wood-cut illustration, comic books, Art Nouveau, and Art Deco), they sought to bring fresh ideas, humour and a new decorative and illustrative approach to the design of record sleeves, book covers, posters and magazines.

Immediately recognizable, the work of Pushpin Studio evolved to become an international force in graphic design during the 1960s and 1970s.

Such was the international success of Pushpin that, in 1970, they were the first American studio to have an exhibition at the prestigious Musée des Arts Decoratifs in Paris, a show which subsequently travelled to other cities in Europe and on to Japan.

Glaser eventually left Pushpin in 1976 to pursue other design work, and through his own company, Milton Gla-ser, Inc., has concentrated on expanding involvement as a multidisciplinary designer, undertaking exhibition, interior, product, supermarket and restaurant design projects.

Developing a major interest in publishing design (he was founder of New York magazine), he established with Walter Bernard (former art director of Time), WBMG, a magazine and newspaper design studio. Among his publication credits are Paris Match, L’Express, Esquire, The Washington Post, Fortune magazine and Banaradia (Barcelona).

As a lecturer, Glaser has taught at the Cooper Union and regularly (since 1961) at the School of Visual Arts in New York.

When I first saw the way Corita Kent used language in her work, it reminded me of her famous pop art contemporaries Andy Warhol and Ed Ruscha. But while Kent depicted compa-rable subjects, employed similar visual strategies, and used the same vibrant color palette, she’s hardly, if ever, included in surveys of the ’60s art movement. Consequently, her work was unknown to me for many years, and I surmised that her obscurity was because she was a woman and, from 1936 to 1968, a nun. An article in the June 28, 1966 edition of Look mag-azine stated, “Long before those young men in New York invented pop art, a small nun in Los Angeles was showing her students at Immaculate Heart College how to discover the novel and beautiful in popular magazines and packages from the supermarket. But Sister Mary Corita is a different kind of pop artist. Whereas the New York boys deal in a certain brittle archness (they are chic), Sister Corita and her students unabashedly affirm and celebrate the here-and-now glories of God’s world—the words of Beatles’ songs, the pictures on cereal boxes, the sheen of stamps, the typogra-phy in movie magazines.” Kent was often asked to explain why she chose to forgo figurative imagery and rely solely on words. “I think a picture with all words is as much a picture as something with abstract or recognizable shapes,” she said in a 1976 in-terview. Three years later, she echoed that sentiment. “I re-ally love the look of letters—the letters themselves become

a kind of subject matter even apart from their meaning—like apples or oranges are for artists.” From even the most cursory glance at her screen prints, it’s clear Kent loved playing with well-designed let-terforms, but she also found special meaning in the words. In 1966, she transformed Canada Dry’s slogan, “Give the gang our best,” into an affirmative call to action to give to others the best of oneself. She changed the look of the catchphrase. Instead of presenting it as it appears in the ad-vertisement, she stacked the words and turned two of them upside down. An emphatic “NOW!” on the left balances the mustard rectangle and blue circle on the other side, and the yellow words, “Turn, Turn,” provide an underlying architec-ture to the composition. In many printed designs just like this, Kent recon-figured assorted visual information to deliver messages of hope and salvation. She found these words and sayings in the most ordinary places: the pages of popular magazines; ads for soda, tomato sauce, and potato chips; and street signs that declared “STOP” and “WRONG WAY.” Unlike many of her contemporaries, Kent did not march or attend protests, but instead created screen prints that clearly articulated her views. Phrases such as “Stop the bombing,” “Make love not war,” and “Why not give a damn about your fellow man” fill her carefully composed printed work. What’s so remarkable about that work is how relevant it remains today. Her 1969 “American Sampler,” a jumble of red, white, and blue words spelling “AMERICAN,” “ASSASSINATION,” “VIOLENCE,” and “WHY” is not only visually compelling, it is timeless. If not for her inclusion of the word “VIETNAM,” we might think she was referencing Iraq, Afghanistan, Ferguson, Missouri, or other places that consume the contemporary political imagination. Now, as Kent’s life and work becomes better known, we should remember that her oeuvre is not just graphically intelligent and innovative, it is also laden with meaning. It was created to inspire us to act for the common good, to help those around us, to resist greed and other selfish impulses, and to be part of a beneficent world com-munity. That is the message that Kent continues to offer us in her vibrantly colored, brilliantly designed work.

Recognized for her rebellious spirit as an artist and educator, and for her inventive

use of graphic type and vibrant color in communicating messages of protest

and social change

By Susan Dackerman

C H I P

K IDD “the best style

is no style”

Chip Kidd, the New York based graphic designer and

writer, has become one of, if not the most famous

book jacket designer to date. Born in 1964 and raised

in Reading, Pennsylvania; his designs have been, ac-

cording to Graphic Design: America Two, credited with

“helping to spawn a revolution in the art of American

book packaging in the last ten years.” One of the most

consistent characteristics of Kidd’s revolutionary style

is the fact that his book jackets do not have a signature

look. According to Kidd, “A signature look is crippling...

[because] the simplest and most effective solutions

aren’t dictated by style.”

Kidd graduated from Pennsylvania State University where

he majored in graphic design and became interested in

the work of Paul Saville, the designer of British record

sleeves for whose designs he still considers a major influ-

ence on his work.

Most of Kidd’s more famous book jackets have been

created during his ongoing fifteen years plus run at the

venerable Alfred A. Knopf publishing house under art

director, Carol Devine Carson, who according to The New

York Times “is credited with helping overhaul old ways

of using type, artwork, photography and color on book

jackets.” Kidd’s list of clients is made up of some of the

most well known and celebrated authors of today includ-

ing Anne Rice, John Updike, Dean Koontz and Michael

Crichton for whom he created the now iconic illustration of

a dinosaur skeleton for his book “Jurassic Park”.

Kidd is currently working with writer Lisa Birnbach on True Prep, a follow-up to her 1980 book The Official

Preppy Handbook.

Kidd is as a fan of comic book media, particularly

Batman, and has written and designed book covers for

several DC Comics publications, including The Complete

History of Batman, Superman, and Wonder Woman, The

Golden Age of DC Comics: 365 Days, and the afore-

mentioned Jack Cole and Plastic Man. He also designed

Mythology: The DC Comics Art of Alex Ross and wrote an

exclusive Batman/Superman story illustrated by Ross for

the book. Kidd once stated that the first cover he ever no-

ticed was “no doubt for some sort of Batman comic I saw

when I was about 3, enough said. Or maybe not enough

said: the colors, the forms, the design. Batman himself is

such a brilliant design solution.” Veronique Vienne, who

wrote an eponymous book about Kidd in 2006, described

Kidd’s Batman fandom as a “childhood obsession and

lasting adult passion.”

Chip KiddBiography by Cooper Hewitt

Kidd’s dinosaur skeleton also became the central image

of the movie marketing campaign as well. He also

designed the catalogue cover for the Cooper-Hewitt’s

“Mixing Messages” exhibitions.

Kidd’s work has been featured in Vanity Fair, Time, The

New York Times, Graphis, New York and ID magazines.

Chip Kidd has also written about graphic design for

Vogue, The New York Times, the New York Observer,

Arena, Details, The New York Post and Print magazines.

He also wrote and designed the cover for his novel

“Cheese Monkeys”.

Kidd is currently associate art director at Knopf, an imprint

of Random House. He first joined the Knopf design team in

1986, when he was hired as a junior assistant.

Turning out jacket designs at an average of 75 a year,

Kidd has freelanced for Doubleday, Farrar Straus &

Giroux, Grove Press, HarperCollins, Penguin/Putnam,

Scribner and Columbia University Press in addition to

his work for Knopf. Kidd also supervises graphic novels

at Pantheon, and in 2003 he collaborated with Art

Spiegelman on a biography of cartoonist Jack Cole, Jack

Cole and Plastic Man: Forms Stretched to Their Limits.

His output includes cover concepts for books by Mark

Beyer, Bret Easton Ellis, Haruki Murakami, Dean Koontz,

Cormac McCarthy, Frank Miller, Michael Ondaatje, Alex

Ross, Charles Schulz, Osamu Tezuka, David Sedaris,

Donna Tartt, John Updike and others. His design for

Michael Crichton’s Jurassic Park novel was carried over

into marketing for the film adaptation. Oliver Sacks and

other authors have contract clauses stating that Kidd

design their books.

Publishers Weekly described his book jackets as “creepy,

striking, sly, smart, unpredictable covers that make

readers appreciate books as objects of art as well as

literature.”USA Today also called him “the closest thing to

a rock star” in graphic design today, while author James

Ellroy has called him “the world’s greatest book-jacket

designer.”

Kidd has often downplayed the importance of cover

designs, stating, “I’m very much against the idea that

the cover will sell the book. Marketing departments of

publishing houses tend to latch onto this concept and they

can’t let go. But it’s about whether the book itself really

connects with the public, and the cover is only a small

part of that.” He is also known to be humorously self-

deprecating in regards to his work with statements such

as “I piggy-backed my career on the backs of authors,

not the other way around. The latest example of that is

The Road, by Cormac McCarthy. I’m lucky to be attached

to that. Cormac McCarthy is not lucky to have me doing

his cover.” Design by Hyejin Ahn

John Maeda is an Ameican Executive, Designer, and a Technologist who was named as one of the 21 most important people in the 21st century. His work explores the area where business, de-sign and technology merge. As an artist, Maeda’s early work redifined the use of electronic media as a tool for exoression by combining computer programming with traditional artistic technique, Laying the groundwork for the interactive motion graphics that are taken for granted on the web today.

Jessica Nicole Hische was born in Charles-ton, South Carolina in 1984, making her 32 years old. In 2006, Hische gradu-ate from the Tyler School of Art with

a degree in Graphic Design and Interactive

freelance designer for a studio in Philadelphia.

to Brooklyn and worked on some illustra-tions and lettering but the freelance work was overwhelming and she wanted to work on too many side projects. She has been on her own as a letterer, illustrator and designer since 2009.

Some of her bigger, more important clients include Penguin Books, Wes Anderson, Star-bucks, Victoria’s Secret, American Express,

Eggers and Chronicle Books. Some people that

Carter, Marian Bantjes, Chris Ware, Doyald Young, Ed Benguiat, and Alex Trochut.

One of Jessica’s most important pieces of work was her Daily Drop Caps series. It’s a project that has been going on since 2009 where an illustrative initial cap has been posted online

-ally helped get her a jump start with her hand-lettering. Another project that got her a lot of recognition was her “Should I Work For Free”

fonts. Buttermilk, Tilda, Minot, Silencio Sans,

A lot of Jessica’s feedback and critiques are very

works and how even though she loves typog-raphy, she does not limit her self strictly to

young designers to work harder and her book, In Progress, has received amazing reviews. People love that she has given an insight into how she does her work and how to improve on handlettering.

Jessica currently living in San Fransisco, Cali-fornia and working in a by-appointment only collaborative studio with her fellow designer Erik Marinovich.

Florence and the Machine. via JessicaHische.com

Say it with Flowers. 2012. via JessicaHische.com

Starbucks Advertisment. via JessicaHische.com

GraphicDesigner

A zine about the graphic designer Eddie Opara

Created by Natalie Hawkins

Eddie Opara - Graphic Design“Eddie Opara is a contemporary English-born America based graphic de-signer. His multifaceted work encompasses refreshing design, modern tech-nology and strategy. He primarily focused on the projects involving the de-sign of interactive installations, software, publication and packaging, brand identity and user interface.”

LifeEddie Opara was born in Wandsworth London in 1972. Although born in London, he spend most of his time after school, in America. He is a well known comtemporary artist, who uses grids, and confied space to his advantage.

EducationOpara graduated with his Formal art education from the London College of Print- ing and Yale University. He majored in Graphic Design and earned a Masters of Fine Arts degree in 1997. He attended these schools on many scholarships. He now is a proffesor at Yale Univer-sity.

WorkSoon after graduation Opara moved from London to New York. He began his profes-

sional career working with a

TypeOpara chooses his fonts wise- ly (as any graphic designer would). When looking fora font to use he focuses on something with great spac- ing, great atten-tion to detail, but something thats not too trendy. ‘-It also needs some element of the future, of new- ness, of the time we’re living in’. Some of his favorite fonts to work with are Blender, Al- bertus, Theinhardt and Venus SB Medium Extended.

variety of different firms including Ambassador Theater Group, Imaginary Forces, and 2X4. At 2X4 Opara was ap- pointed the art direc-tor of the influential design studio.

GuidesSomething that stands outto me, is Opara’s love for placement. You can see in his work he uses grids, lines, and guides to his advantage. “If you work with a set of bound- aries, the content makes the design come alive. If you don’t have a restric-tion, well, anything can happen. It becomes more like an illustration. I prefer to think in sys- tems, more like an architect. When you place type or imagery in a system, it gives the design a rhythm.”

“Opara worked for a number of companies including Pantone”

BEYOND THE BARRIER OF TYPOGRAPHY.

Experimental Jetset is a small, independent, and Amsterdam-based graphic design studio, founded in 1997 by (and still consisting of) Marieke Stolk, Erwin Brinkers and Danny van den Dungen. Focusing on printed matter and site-specific installations, and describing their methodology as “turning language into objects”, Experimental Jetset have worked on projects for a wide variety of institutes.

Their early work takes its inspiration from punk rock movements, and modernism, both of which are still present in their graphic aesthetic. As teenagers, they claimed to have been “completely absorbed” by all kinds of post-punk movements: psychobilly, garage punk, new wave, two tone, and American hardcore. They were drawn to the music, as well as to the graphic manifestations that came with it, such as record sleeves, t-shirts, patches, band logos, posters, among others. Today their inspirations remain modernism and rock culture. Their portfolio consists of printed works and site-specific installations that have been exhibited at various institutes and group exhibitions, such as ‘Ecstatic Alpha

bets/ Heaps of Language’ at MoMA (2012), ‘Graphic Design: Now in Production’ at the Walker Art Center (2011). Solo exhibitions include: ‘Kelly 1:1’in the Casco Projects in Utrecht (2002), and ‘Two or Three Things I Know About Provo’ in Amsterdam (2011), and Cooper Hewitt. Experimental Jetset’s methodology is best described as “turning objects into language.”

They appearance in the documentary Helvatica, and their dogmatic use of that typeface has become a defining aspect of their work and has influenced new genera-tions of graphic designers. Helvetica is one of the most popular typefaces in the world. Helvatica is created in 1957 at Swtizerland for succession of traditional style taste of the designer excluded neutral disposition. Hel-vetica captured the modernist preference for using clarity and simplicity to suggest greater ideas. The fact that the typeface is clean-cut and simple means that it can be used as a neutral platform in a wide variety of settings it is the particular context and content of the messages, that convey their meaning.

What advice would you give to someone starting up a studio?

It might sound like a cliche but we really believe in this: “slow and steady wins the race”. And we like to add, there’s not even a race to win. There’s no rush. Hypes and trends come and go: just stick to your own principles, and you’ll be fine. People will predict the end of print, and then its return, and then its end again, etcetera; magazines will state that “minimalism is out, ornamentation is in” or vice versa; critics will attack you, and attack youeven more, until they run out of breath and move to another target. Just don’t pay attention, and keep on moving forward, step by step. It’s all about the long-run, not the short-term.

Wim Crouwel just turned eighty, Jan Bons just turned ninety, and both are still design-ing. These are our role models. It’s our plan to keep on designing for years to come.

Experimental Jetset, March 2008

We are trying to turn objects into language

“

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ExperimmentalJetset

The Headsof StateBehind The Design by Karli Petrovic

H ailing from Philly, the innova-tive design firm The Heads of State blends a fun atmosphere and challenging projects with a no-nonsense motto: It’s

all about the work. “We make all the stuff we make, if that makes any sense,” says principal and creative director Jason Kernevich. “We’re focused on the intersection of design, illustration, branding and entrepreneurship.” The firm, founded in 2002, created the playful, collage-style cover of HOW’s July 2014 issue, collaborating with Adam Ladd, HOW’s art direc-tor, along the way. “The ideas of layers being ripped away to reveal something more emu-lates the whole ‘Behind the Design’ theme of the issue,” Ladd says. He also remarks that The Heads of State team was very organized and detailed, which contributed to a smooth work-ing relationship. Despite a small staff comprised of two principals, a graphic designer, an as-sistant and a few interns, The Heads of State maintains an open structure that encourages everyone to get involved. “We dis-cuss all aspects of the process, from top to bot-tom,” Kernevich says. “It sounds cliche, but we treat it like a conversation. And that includes

pricing, hiring, revising, brainstorming, etc. We’re also constantly making adjustments and trying to streamline our process.” Part of developing this collaborative, highly motivated environment comes down to the firm’s em-phasis on having a personal stake in the design success. “We want our employees to feel like they can include their voice or their sensibility in the work,” Kernevich says. “We try to keep the projects challenging and the process evolving. It’s really that simple. Of course, that itself is a challenge.” Having a fun place to work doesn’t hurt either. “The atmosphere is that of a workshop,” he says. “It’s a nice blend of stylish and a little messy, as we’re always juggling various projects. There’s good music playing, and friends and collaborators dropping by. It’s a really loose and fun place to work.” The laid-back-but-diligent approach of The Heads of State’s offices seems to reflect The City of Brotherly Love’s work/life mentality. “Philadelphia is a tight-knit community. Everyone knows one another, and that can be both amazing and also frustrating,” Kernevich explains. “But I think Philly’s salt-of-the-earth attitude maintains a focus on doing good work and living a quality life.”

XXX

Bradbury ThompsonLászló Moholy-NagyExperimental JetsetThe Heads of StateRobert BrownjohnAlexey Brodovitch

Jessica HischeMilton GlaserCipe PinelesJohn Maeda

Eddie OparaCorita KentAlvin LustigChip KiddSaul BassLouise Fili

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mica intro to graphic design spring 2016 favorite designers zine

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