Will ~ Paula Scher & Magazines

Scher recently collaborated with Luke Hayman from Pentagram to redesign TIME magazine.

“The magazine has a new look and structure. Every issue of TIME tells a larger story about the world we live in, and we wanted to create a design that would best present that story”

“We created a system that we thought would resonate with today’s readers. It’s full of quick bits and relevant info, but still retains the spirit of TIME. We used the display typeface Franklin Gothic that was part of the history of the magazine, and revisited the grid used by Walter Bernard,” the legendary editorial designer.

“The magazine has been modernized, but it still has the TIME ‘DNA.’ We deliberately chose fonts and design elements that echo classic TIME magazine.”

Regards:

http://www.typeforyou.org/category/magazines/

Justine Barratt - Ellen Lupton TYPE

A Neutral but Critical Guide for Designers, Writers, Editors, and Students.

"Design is as much an act of spacing as an act of marking."- Ellen Lupton

Ellen attempts to revalue—in a positive rather than a destructive way—some of the fundamental theory of modern graphic design and make it accessible to all. Philosopher Walter Benjamin called writers to take up the camera; the intention behind Ellen's own study of design history and theory is to eventually influence designers to take up writing. Benjamin’s “author-as-producer” would have been able to juxtapose image and text; the skills of a graphic designer/writer would allow her not only to juxtapose but also to penetrate: to analyse images with the “language” of both words and graphics, and to determine the format in which a message might be framed. Despite the hostility expressed towards writing in these brilliant and influential textbooks of design, the notational “vocabulary” of form that develops out of them is rich in associative, culturally communicative meaning. The visual “language” of the diagram, as demonstrated by the some of the examples of graphic design published in Kepes’s text, is not a transparent filter for self-evident meaning, but rather a transforming, metaphoric code.

Ellen teachers us

to consider the whole

page as an artwork

with a purpose.

Design with expressive readability.

" There are rules people. "

Ellen Lupton encourages readablitiy with design,

understand the basic law's learn throughtout our

print & visual history, using these principle's we

can look of the grid yet be totally readable.

Ellen ask's us to 'Please' consider these points!

http://elupton.com/2009/10/modern-design-theory/

http://www.thinkingwithtype.com/extras/

http://www.thinkingwithtype.com/misc/Beautiful_Books.pdf

Erik Spiekermann Typography - SAM

Erik Spiekermann

Born 1947, studied History of Art and English in Berlin. He is information architect, type designer (FF Meta, FF MetaSerif, ITC Officina, FF Govan, FF Info, FF Unit, LoType, Berliner Grotesk and many corporate typefaces) and author of books and articles on type and typography. He was founder (1979) of MetaDesign, Germany's largest design firm with offices in Berlin, London and San Francisco. Projects included corporate design programmes for Audi, Skoda, Volkswagen, Lexus, Heidelberg

Printing and way finding projects like Berlin Transit, Düsseldorf Airport and many others. In 1988 he started FontShop, a company for production and distribution of electronic fonts. Erik is board member of ATypI and the German Design Council and Past President of the ISTD, International Society of Typographic Designers, as well as the IIID. In 2001 he left MetaDesign and is now a partner in Edenspiekermann with offices in Amsterdam, Berlin, London and San Francisco.

Links -

www.fontshop.com/fonts/designer/erik_spiekermann/

www.fonts.com/AboutFonts/.../ErikSpiekermann.htm

www.planet-typography.com/news/.../spiekermann.html

en.wikipedia.org/wiki/Erik_Spiekermann

spiekermann.com/

Will ~ Paula Scher ~ Typography&Posters

'Less is more unless its less' ~ Paula Scher

When Scher first began poster design there were no font books or computer based font archives, she was forced design her own and to source styles from history books, antique stores or historical areas in relation to the specific poster she designed. So when Scher first came onto the scene with her fresh new approach to typography within her poster work she quickly became famous in New york within the design community and eventually a style recognizable by the NYC public, to the point where her typography was coppied and used for a particular purpose or style.

The following images are perfect examples of Schers contribution and style to typography. Her main area was poster work for the arts in NYC which were loud and cluttered and extremely effective. Scher incorporates scale and space into consideration. she uses the text to fit tight onto the page as it creates a slight tension that reinforces the message.

Regards:

http://www.ashley-spencer.com/ArtIsEverywhere/?p=2556

http://www.topositu.com/

http://www.batchprocess.org/

http://www.behance.net/gallery/Tilles-Center-25th-Anniversary-Poster/437126

http://aclark17.wordpress.com/category/typography/

Justine Barratt - Timba Smits

A total traditionalist, and lover of things from the past.

Timba Smits known as the vintage guy, and self confessed magazine whore. Timba has a background is in fine art and illustration. Has a deep rooted passion and feel for typography, magazine layouts and book design. 2006 he started ‘Wooden Toy magazine’ a free skate culture mag, Timba wanted to make a magazine that looked paid-for but give it away free His style is detailed, nostalgic and textured with a hand-made approach taking inspiration from the 40’s, 50’s and 60’s and combining them with modern techniques and mediums. Kind of an old meets new approach.

Woooden Toy magazine is possibly the most design heavy print magazine, a culmination of the amazing talent, people and ideas that Timba see on a daily basis around him. It is a catalog of the progressive nature of worldwide creative culture. It started in 2006 born from a love of magazines, art, photography, type and youth culture. It was released during a moment when Timba found himself searching for something that didn’t exist in other publications at that particular time, well not in Melbourne at the time .

A magazine with no boundaries, no set template, a freedom of speech and a focus on its production just as much as what it was saying through it’s editorial. Timba’s philosophy behind the brand is to document and highlight the creatives that have in some way been influenced by youth, street culture and art while drawing in the creatives that we think can be, and are an influence and inspiration to creative cultures future progression and presenting this as a lifestyle that cannot be separated from a love of brilliant photography, street art, illustration and some of the best graphic designed layouts you’ve ever touched.

http://www.australianedge.net/none/art-director-designer-artist-timba-smits/

http://www.wemakestuffgood.com/2010/09/09/design-stuff-wmsg-vs-timba-smits/

http://www.woodentoyquarterly.com/

http://www.shillingtoncollege.com.au/profile/timba-smits

http://www.gorkergallery.com/gorker_home.htm

Mike Svoboda

Sagmeister Typography

Images from his book (Things i have learned so far)

While alot of designers and artists use Modernism, very slick

and high polished work. Sagmeister's work standsout, alot

of the time being handmade, human touched and Haptic.

(manipulation of objects using the sense of touch and

proprioception). Having durations of unhappiness in

changing of styles all the time, Stefan had this period where

he thought you can never re-use anything and always doing

a new style for everything. Saying further, "That basically

proved impossible, besides you are in danger of just ripping

different styles off, therefor I was happy to explore that hand

made typography idea a bit further. I absolutly don't think

each project calls for different strategies not just content-

wise but also form-wise". -Sagmeister-

Stefan Using Haptic Style

At the opening of our exhibition at Deitch Projects in New York we featured a wall of 10,000 bananas. Green bananas created a pattern against a background of yellow bananas spelling out the sentiment: Self-confidence produces fine results. After a number of days the green bananas turned yellow too and the type disappeared. When the yellow background bananas turned brown, the type (and the self-confidence) appeared again, only to go away when all bananas turned brown.

Deitch Projects, Banana Wall

Links:

http://pingmag.jp/2005/09/27/visiting-stefan-sagmeister/

http://www.google.com.au/images?q=stefan+sagmeister+typography&hl=en&safe=active&client=safari&rls=en&prmd=ivnso&source=lnms&tbs=isch:1&ei=_dqHTeG_H42-vgOx8andCA&sa=X&oi=mode_link&ct=mode&cd=2&ved=0CA4Q_AUoAQ&biw=1162&bih=815

http://www.sagmeister.com/work/featured

http://www.sagmeister.com/work/all#/node/188

Paul Rand - Hemensley

"Simplicity is not the goal. It is a by-product of a good idea and modest expectations."

Peretz Rosenbaum was born in Brooklyn, New York in 1914. At a very young age he started painting signs for his father’s grocery store as well as for school events. Rand’s father did not believe art could provide his son with a sufficient livelihood, and so he required Paul to attend Manhattan’s Harren High School while taking night classes at the Pratt Institute, though neither of these schools offered Rand much stimulation. Despite studying at Pratt, Parsons and the art students league. Rand was by-and-large “self-taught as a designer.

As Orthodox Jewish law forbids the creation of graven images that can be worshiped as idols, Rand’s career creating icons of global capitalism seemed unlikely. He decided to camouflage his overtly Jewish identity shortening his forename to ‘Paul’ and taking ‘Rand’ from an uncle to form his new surname. . So he became Paul Rand. Creating a nice symbol and a brand name for his many accomplishments.

From 1936 to 1941, Paul Rand was art director of "Esquire" and "Apparel Arts" magazines while from 1938-1945 he also designed the acclaimed covers of "Direction" magazine. From 1941 until 1954 Paul Rand was art director of the William H. Weintraub advertizing agency in New York. And from 1956 Paul Rand freelanced as a graphic designer and consultant for Westinghouse and IBM.

http://www.areaofdesign.com/americanicons/rand.htm

http://www.paul-rand.com/site/biography/

http://www.iconofgraphics.com/Paul-Rand/

http://www.adcglobal.org/archive/hof/1972/?id=300

http://www.google.com.au/search

Will ~ Paula Scher {Logos}

Lincoln Jazz centre logo design by Scher.

In 1994 Paula Scher developed the brand identity for the Public Theater that pushed the norm with its playful, bold typography.

Paula Scher drew the original napkin sketch nine years ago. Paula "For Citi Bank I wanted to bleed the logo all over everything after we designed it. The Citi Bank logo is completely intellectual. It was a marriage of the Traveller’s umbrella and the word Citi to create an umbrella in the middle of the word. he emotional part of it came in the application of how they handled their secondary blue. They used to use it just as a band. I always called that type and stripe when a corporation takes a typeface and sticks a band down the side of everything to make it look the same. So I spent two and a half years selling a logo and trying to get this company to accept the notion of the expansiveness of this blue. Slowly and gradually we’re beginning to introduce it everywhere.

The Philharmonic’s institutional identity has a built-in flexibility that can accommodate the varied needs of the organization. The two elements—the circular wordmark and the line graphic—may appear together or apart, in multiples, rotated or layered, to create patterns of line and shape. The line of the baton may be used as a decorative motif or to set apart blocks of information. The system uses a strong, bold color palette that can be updated seasonally and is paired with elegant black and white photography of the musicians.

The Art Directors Club is one of the most concentrated groups of creative talent in the world, and is a gathering place for leaders in visual communication.

Regards:

http://www.oberholtzer-creative.com/visualculture/category/branding/page/3/

http://www.mediabistro.com/unbeige/think-pink-art-directors-club-unveils-new-logo_b7497

http://www.hollisduncan.com/books/jalc.html

http://worldsbestlogos.blogspot.com/2007/10/citibank-logo.html

http://www.logodesignlove.com/new-york-philharmonic-logo

http://www.adcglobal.org/adc/whatisadc/

JamesVictoreTypography/Danni

JAMES VICTORE

TYPOGRAPHY

"I do not embrace typography. I respect it well, and nod appreciatively in its direction, but will never give it a full hug and bro-like pat on the back. It is not a mistrust I speak of, I am just wary and eye it as I would a door to door salesman or a Williamsburg hipster with white-rimmed sunglasses. Typography for me is never how the words look. For us visual ladies and fellows this is, of course, almost inverse thinking, but, follow me, my thought is this: it is what words sound like. Each choice of different face is a lilt, an accent, it gives a word a slightly different vibrato and pitch. With this in mind, words become emotion, or even the very lack of emotion. Words, depending on our choices of font, have meaning, irony, force, a palpable whisper, possibly even empathy. We, being in charge of typography, and not the other way around, cannot let a typeface, with its own cultural baggage, depict what we want to say. We don’t lean upon cursive to mean “fancy,” nor rest up on old-reliable stencil to mean “travel” or “war,” and so on. We often spend endless hours looking for that “perfect-meaning” font, deep inside knowing that there is none and our choices ultimately come from fatigue or downright laziness."

James Victore's work is unmistakably his. Every one of his pieces bears his handwriting. Few designers have done more to render typography foundries irrelevant than Victore. The human hand, his hand, is always in evidence. Yet this signature approach takes so many different tones. His work conveys the sense that the words don’t want to wait around to be put into type, justified, and kerned. Instead, the ideas are rushing to get out.

http://gdad.sva.edu/sites/default/files/Thoughts-On-Typography-James-Victore.pdf

observatory.designobserver.com

Milton Glaser Fonts (Luca De Michele)

Glaser’s typefaces combine Pushpin-era Deco motifs with conventions adapted from hand-painted signs, but share a tendency to imbue generic letterforms with geometric dimension. Across the six examples here, he achieved a robust body of varied typefaces that nonetheless all reflect at once his graphically rigorous mode of thinking and the more shapely and expressive character of his illustration.

American Typewriter is the font used by Milton Glaser for the famous I love NY

Babyteeth is one of Glaser’s earliest and most successful typefaces — used in his most famous poster —alongside many other notable music promotions, such as this poster for Mahalia Jackson at Lincoln Center.

The Hologram typeface was an idea Glaser says had been in his head for a while before he had a chance to actually make use of it. He found his oppo

rtunity in a poster for a festival for United Artists
This one was a proprietary face for the Rainbow Room in NYC; It had two styles: wide and narrow.

Einstein Bold was done for the album cover of Einstein on the Beach by Philip Glass.

Another typeface called The Sesame Place, that was based on an earlier typeface of his called Houdini.

Here's two weights of Filmsense from the Photo-Lettering One Liner manual (1988). I'll see if I can scan in examples showing the multiple weights variations of Houdini and Eightway a bit later.

http://www.typophile.com/node/2547
http://e-daylight.jp/design/fonts/designers/m/milton-glaser.html
http://containerlist.glaserarchives.org/index.php?id=138

http://www.designerstalk.com/forums/graphic-design/47025-ten-things-milton-glaser-has-learnt.html

http://christineparkdesign.com/blog/?tag=milton-glaser