Will ~ Paula Scher

“How can it be that you talk to someone and it’s done in a second? But it is done in a second. it’s done in a second and in 34 years, and every experience and every movie and every thing of my life that’s in my head.” ~ Paula Scher

Paula Scher is an American graphic designer and artist, born 1948, Washington DC. For more than three decades Paula Scher has been at the forefront of graphic design. Iconic, smart and unabashedly populist, her images have entered into the American vernacular.

Scher has developed identity and branding systems, promotional materials, environmental graphics, packaging and publication designs for a broad range of clients that includes The New York Times Magazine, Perry Ellis, Bloomberg, Target, Coca-Cola, Tiffany & Co., the Metropolitan Opera and a long list of others with an obvious pattern of clients in art and creative institutions. Her graphic identities for Citibank and Tiffany & Co. have become case studies for the contemporary regeneration of classic American brands.

In 1998 Scher was named to the Art Directors Hall of Fame and has received hundreds of industry honors and awards over the course of her career.

Above ~ NYC posters for art institutions. Schers famous hand painted and often inaccurate maps of the world.

Regards:

http://en.wikipedia.org/wiki/Paula_Scher

http://www.aiga.org/content.cfm/medalist-paulascher

http://www.pentagram.com/partners/#/19/

Michelle - Massimo Vignelli Magazines

"To design a magazine means to control the emotions of the reader by manipulating the visual content, pacing the images, playing with the white space, choosing the most appropriate typeface and size, scaling the pictures to obtain the desired effect."

Vignelli Associates

Within the field of magazine design, Vignelli has shown a strong preference for architectural magazines. He has used grids in many of his designs, for consistency, continuity and to speed up the production process.

Industrial Design 1967-1970

Industrial Design was the first magazine that Massimo designed in the US. The design was based on a grid format - unusual at that time. Using the grid sped up the production process and often the magazine could be designed in one day.

Oppositions 1973-1984

An esoteric magazine published for The Institute for Architecture and Urban Studies. The magazine had more words than pictures with contributions from architectural critics and historians. The cover colour was kept the same, despite pressure to change it, to achieve a strong chromotype for the magazine’s identity.

A+U

Architectural Magazine

1990 and 1997

One of the best architectural magazines in the world, in 1990, Vignelli designed the magazine graphic format to be easy and simple to follow. Then in 1997, when the directorship of the magazine changed, Vignelli designed a new cover with a vertical band that continued through the magazine to separate projects.

Architectural Record Magazine, 1982

Over several years Vignelli designed every issue of Architectural Record. The design was based on a grid system to ensure consistency and continuity of design and to increase production speed.

Dot Zero, 1966-1967

“This was a magazine of design topics which we used to publish at Unimark International in the late 1960s. As with all magazines we design, Dot Zero was based on a modular grid which was articulated and violated whenever appropriate. It was set in Helvetica throughout, with titles in bold in the same type size. That kind of design was not popular in the United States at the time, and the magazine became seminal for that graphic style. Too bad it did not last beyond issue number five." Massimo Vignelli

LINKS

Magazines and books

Dot Zero

Oppositions Magazine

Influence

Interview with Lella and Massimo

chloe post 1: lustig

ALVIN LUSTIG

''Devoted to good design''

Alvin Lustig believed in the power of design when applied to all aspects of life. He introduced the principles of modern art to graphic design that have had a long-term influence on contemporary practice. Early in his career, Lustig created geometric designs using type ornaments. He would attempt to get a sense of the writers direction from reading the book and then translate it into his own graphic style.

http://grainedit.com/2010/09/28/born-modern-the-life-and-design-of-alvin-lustig/

http://observatory.designobserver.com/entry.html?entry=22568

http://www.designishistory.com/1940/alvin-lustig/

http://www.alvinlustig.com/aa_intro.php

http://printspace.blogspot.com/2010/10/alvin-lustig-born-modern.html

David Carson Magazine - SAM

David Carson

"father of grunge."

David's first work in magazines began with art directing Transworld Skateboarding, then a stint at How magazine (a trade magazine aimed at designers) followed,

and soon Carson was hired by publisher Marvin Scott Jarrett to design Ray Gun,

a magazine of international standards which had music and lifestyle as its subject. Founded in 1992, Carson served as Art Director of the publication for three years, popularizing an extremely experimental use of type and imagery that enraged some and wowed many. Carson is known to an entire generation of designers in the 90's as the mad genius behind the infamous Ray Gun magazine, His work also extends well beyond that, notably in the design and art direction of

publications as varied as Metropolis, Aspen, Armani, Trip, Skateboarding and Surfer.

Now his most recent magazine work would be Creative Directing his own magazine "C A R S O N", it's printed bi-monthly and is dedicated to quality in design, fine art, illustration, photography and writing.

In the music industry Carson is most well-known for his Nine Inch Nails album artwork fr

om the album "The Fragile".

LINKS -

http://mikemichelleapril.blogspot.com/2008/12/david-carson-and-nine-inch-nails.htm

lhttp://en.wikipedia.org/wiki/David_Carson_(graphic_designer)

http://www.carsonmag.net/about/

http://www.davidcarsondesign.com/?dcdc=top/n&w=pin/work/_music/nin&r=1&dirf=works:music:NIN

http://creativebits.org/inspiration/c_r_s_o_n_magazine_feature_work_david_carson

JamesVictoreMagazineDesign/Danni

Islam and the Bomb, The New York Times Magazine, 2006:

JAMES VICTORE.

AND HIS CONTRIBUTION TO THE MAGAZINE GRAPHIC INDUSTRY.

Esquire Magazine asked James Victore to transcribe parts of Stephen King's short story "Morality" for their July 2009 cover. Using what may or may not be shoe polish Victore tried to give the lettering some energy, with varying sizes and styles of lettering, even underlining a sentence and leaving a scrawled-out word.

Victore's work in the 2006 "Economy" Theme Critique Magazine show's James thrifty use of black type on a white field. It hones the viewers straight to the message and leaves little to get in the way of the concept.

Victore’s work has a very distinct visual style: scrawled handwriting, collaged images and layered compositions make up almost every piece. It is hard to see Victore’s work and not know immediately that it is his. His formal style is important to the success of the work. It allows his ideas and opinions to be seen for what they are: the expression of personal belief. James Victore doesn’t work on anything if he doesn’t believe in it. This unapologetic stance is his greatest strength and what makes his work so memorable and speak to so many people.

www.fastcodesign.com

www.the99percent.com

www.bookcoversanonymous.blogspot.com

www.fontfeed.com

Irene - M Vignelli's Contribution to Magazine

Magazine Design by Massimo Vignelli's means:

• to control the emotions of the reader by manipulating the visual content
• pacing the images
• playing with the white space
• choosing the most apprpriate typeface and size
• scaling the pictures to obtain the desired effect

A + U Architectural Magazine (1990, 1997)

Architecture and Urbanism (A+U) is one of the best architectural magazines in the world. In 1990, Vignelli designed the magazine graphic format, simple and easy to implement along their guidelines which was excellent for several years. In 1996 a new cover was designed with a vertical band and carried the same inside the magazine, to separate different projects.

Zodiac (1989)

This architectural magazine, Zodiac published in Italy (1957 to 1963) and was designed a new format for the reborn series, where each story was laid out according to its content, but always employing the magazine's basic grid and type format.

Architectural Record Magazine (1982)

For several years the issue of " Architectural Record" magazine was based on a grid system to assure consistency and continuity of design, quality and to achieve speed of production.

Oppositions (1973-1984)

This was an esoteric magazine published by the Institute for Architecture and Urban Studies. The magazine had more words than pictures which Vignelli resisted pressures to change the color of the cover from issue to issue, because they wanted to achieve strong chromotype for the magazine's which eventually became the red cover of Oppositions and became the real banner for the Institute.

Industrial Design (1967-1970)

"Industrial Design" was the first magazine design by Vignelli in the US based on a grid format, which was unusual at that time, so this was a became an opportunity to explore new ground.

Source links:

bookmagazine

industrial

oppositions

zodiac

a+u

Mike Svoboda

• Stefan Sagmeister

I wanted to show this particular piece actually done by James Victore, to show the influence Sagmeister has in the industry. Using the style of Stefan's AIGA Lecture Poster, rather than carving the text in the skin, what may or may not be shoe polish, Victore tried to give the lettering some energy, with varying sizes and styles of lettering, even underlining a sentence and leaving a scrawled-out word.

Mountains of madness ( 1994 )

Album cover for H. P. zinker. when the album is removed from the transparent red case the facial expression dramatically changes. who says you can’t create actual motion and emotion in print design?. This same format was applied to the Sagmeister Inc. Business cards.

(1997)

Sagmeister depicted David Byrne as a plastic GI Joe-style doll on the cover of Feelings.

One of his trickiest assignments was for the Rollings Stones 1997 Bridges to Babylon album and tour. Sagmeister struggled to persuade the band’s management to accept his motif of a lion inspired by an Assyrian sculpture in the British Museum. Also the astrological sign of the Rolling Stones’ lead singer, Mick Jagger (a Leo), the lion doubled as an easily reproducible motif for tour merchandise.

Links:

http://fontfeed.com/archives/stefan-sagmeistermrs-eaves-like-cover-for-esquire/

http://conceptgenius.com/stefan-sagmeister-work/

http://designmuseum.org/design/stefan-sagmeister
http://www.heraldsun.com.au/entertainment/music/sagmeisters-tricky-fingers/story-e6frf9hf-1225708491170