Posts Tagged ‘graphic design’

The Eye magazine archive 2

March 4, 2015

The website for Eye magazine is well catalogued, listing most issues and critiques going back to 1999. Anne Odling-Smee’s interview with Ken Garland for Eye 66 draws attention to his first written piece, for the Penrose Annual, in which he argues that British graphic design blended Swiss discipline (Karl Gerstner) with American freedom (Saul Bass). See also Eye 85’s review by Jim Northover of Ken Garland: Structure and Substance, Adrian Shaughnessy’s biographical essay.

In Eye 72, John L Walters talks to Marian Bantjes. Her dazzling book, I Wonder, presents a collection of inimitable observations on visual culture and design. Her obsessively playful, highly-crafted word-pictures have made her name and achieved a late but loyal following around the world.

Finally, Germano Facetti Eye 29, 1998 by Richard Hollis. Facetti commissioned Romek Marber to design a new cover design for the Penguin Crime series. Its success persuaded Facetti to apply the design to the blue Pelicans and the orange covers of Penguin fiction. Producing up to 70 covers per month, Facetti brought in leading designers who worked to his brief, achieving a rare consistency of style. See also Rick Poynor’s obituary of Facetti from 2006 and browse the gallery of book covers.


Graphic design: a sense of vocation

March 20, 2012

Annette Peppis’s blog post, How do I know if my graphic designer is any good? sketches the basic requirements for the potential client’s consideration. Top of her list is the following:

“They will have a deep seated love of all things artistic, probably going back to their childhood.”

A good example of this would be Andrew Oliver who has brought flair and clarity to many an educational textbook, travel guide or reference book. His website of work from the last twenty years has a list of influences and a page devoted to books, comics and magazines which resonate as icons for time and place.

Annette Peppis, like Andrew Oliver, has a good eye allied to a sense of curiosity. She blogs regularly on art and design, London life and the underwater world (she’s a qualified diving instructor) and her portfolio showcases a wide range of work. When you look at the work of these two designers, remember — it’s been a long time in the making.

Hall of Femmes

November 2, 2011

Hall of Femmes is an online project that highlights significant contributions to creative culture by female designers and art directors. It’s the brainchild of Swedish design partnership Hjärta Smärta who’ve published a series of books on four unsung heroines: Lillian Bassman, Carin Goldberg, Ruth Ansel and Paula Scher.

Thanks to Maria Popova at Brain Pickings for featuring their work.

Some additional links:

Art director and photographer Lillian Bassman started work at 15 and is still going, in her nineties. You can read an article on her work here.

An AIGA article by Julie Lasky on book designer Carin Goldberg

Excerpts from an interview with magazine designer Ruth Ansel, published in 2005

Graphic designer Paula Scher, interviewed by Psychology Today.


May 11, 2011

Typetoken is a new online magazine that discusses and reviews the world of typography, icons and visual language.

A collaboration between graphic designers Mike Sullivan of Mister and Mark Millic of Modularlab, and web developer David Cole of Mayfield Digital, typetoken features contributions from designers around the globe and aims to be a source of inspiration for those drawn to what’s new in mainstream and experimental typography and iconography.

The first post contains a video interview between dezeen magazine and Wim Crouwel for his UK retrospective exhibition at the Design Museum in London. Another post, Spacing system by Jock Kinneir and Margaret Calvert shows typesetting guides for the typeface, Transport, used in 1958 for UK road signage. It also has a video interview with Margaret Calvert. See Eye 78, where the late Paul Stiff explores why Kinneir and Calvert’s road signage has stood the test of time.

Graphic Design Examples Worldwide 2

April 5, 2011

Rachel Arandilla’s sequel to her acclaimed blog, Graphic Design Examples Worldwide.

Here she covers Scandinavia, Israel, Russia and Africa.

Gurafiku: Japanese graphic design

April 2, 2011

If the titles for these images aren’t enough — Swampcat the Slayer, Frog Samurai, Teeth-Blackening Oxide, Internal Poison Cleansing Pills, Sea Ninja — in genres from poster to Ukiyo-e to Manga that encompass the history of Japanese graphic design, from the 1800s to the present day, then I should apologize to, rather than thank, David O. Steinberg for unearthing this wonderful collection, curated by the designer, Ryan Hageman.

You can view the collection here.

Wim Crouwel: A Graphic Odyssey

March 30, 2011

“The finest graphic design show the Design Museum has staged” — fulsome praise from Creative Review for the new exhibition of the Dutch master which opened last night in London.

Wim Crouwel A Graphic Odyssey is at the Design Museum, Shad Thames, London SE1.

The Design Directory

March 29, 2011

A valuable resource, the Design Directory is an International design links database covering 50 design categories, running from costume design (7 entries) to graphic design (1,691 entries) and taking in animation, architecture, fashion, furniture, illustration and urban design along the way. The major categories have a list of the Editor’s Choice. The Graphic Design link takes you to a list of sub-categories including magazines, where you’ll find How and Graphis (United States), and the bi-lingual  idpure (Switzerland) and novum (Germany). You can also view blogs, ezines, portfolios and galleries here and in other design areas.

The Design Directory is a good page to bookmark and browse.

The global portal for art and design

March 19, 2011

The Creative Roots archive draws on 140 countries for its inspiring posts covering graphic design, photography, architecture and much else besides.

Thanks to Maria Popova, cultural curator at Brain Pickings, and a noted Creative Roots fan.

Design education — think again

March 16, 2011

Q: What is the most treasured and well-used piece of equipment in your studio?

A: My head.

Alan Fletcher’s reply to a question from design students is the starting point for three blogs on a need to re-think design education.

Don Norman writes in Core 77 on the broader understanding that designers must acquire:

We must not lose the wonderful, delightful components of design. The artistic side of design is critical: to provide objects, interactions and services that delight as well as inform, that are joyful. Designers do need to know more about science and engineering, but without becoming scientists or engineers. We must not lose the special talents of designers to make our lives more pleasurable.

There’s a substantial bank of commentary following the article, worth reading for its own insights into the subject, on both sides of the argument.

In Eye 78, Max Gadney highlights the importance of information design in the world and the lack of preparation for this in graphic design schools:

Confidence with the content leads to better relationships with the clients and better solutions. I am staggered at how many designers do not understand the businesses whose work they represent. They then wonder why the clients treat them as ‘Mac men’.

Finally, Steve Heller’s interview with Milton Glaser for Eye 25, on adapting to change over 40 years, including a re-appraisal of design skills:

Drawing skills are not about becoming an illustrator. The most fundamental way of understanding the visual world is through the act of drawing. When you are about to draw something you become attentive to its appearance (and sometimes humble before it) for the first time. I know of no better way of preparing yourself for a career in the visual arts.

Attentive to appearance, and sometimes humble: Glaser, a lifelong learner, describes the moment when he knew he was  “no longer hot”!