# data[].attributes.attachment_link.title
Emory Douglas: The Art of The Black Panthers

# data[].attributes.attachment_link.description
Emory Douglas was the Revolutionary Artist and Minister of Culture for the Black Panther Party. Through archival footage and conversations with Emory we share his story, alongside the rise and fall of the Panthers. He used his art as a weapon in the Black Panther Party’s struggle for civil rights and today Emory continues to give a voice to the voiceless. His art and what The Panthers fought for are still as relevant as ever.

Produced and Directed by: Dress Code (http://dresscodeny.com)

Producer: Tara Rose Stromberg

Cinematography: Andre Andreev

Edit + Color: Mike Cook

Music + Sound Design: YouTooCanWoo

On Set Sound Record: Kevin Crawford, Anton Herbert

Production Coordinator: Rose Glaeser

Archival Film Research: Richard Kroll

Title Design: Marcin Zeglinski

Featured Artwork © Emory Douglas / Artists Rights Society (ARS), New York

Shot on: Red Scarlet

# data[].attributes.attachment_link.readable_text
Paula Scher is one of the most influential graphic designers in the world. Described as the "master conjurer of the instantly familiar," Scher straddles the line between pop culture and fine art in her work. Iconic, smart, and accessible, her images have entered into the American vernacular.

Scher has been a partner in the New York office of Pentagram since 1991. She began her career as an art director in the 1970s and early 80s, when her eclectic approach to typography became highly influential. In the mid-1990s her landmark identity for The Public Theater fused high and low into a wholly new symbology for cultural institutions, and her recent architectural collaborations have re-imagined the urban landscape as a dynamic environment of dimensional graphic design. Her graphic identities for Citibank and Tiffany & Co. have become case studies for the contemporary regeneration of American brands.

Scher has developed identity and branding systems, promotional materials, environmental graphics, packaging and publication designs for a broad range of clients that includes, among others, Bloomberg, Microsoft, Adobe, Bausch + Lomb, Coca-Cola, Shake Shack, Perry Ellis, the Walt Disney Company, the Museum of Modern Art, the Sundance Institute, the High Line, Jazz at Lincoln Center, the Metropolitan Opera, the New York City Ballet, the New York Philharmonic, the New Jersey Performing Arts Center, the New 42nd Street, the New York Botanical Garden, the United States Holocaust Memorial Museum, the Philadelphia Museum of Art, the Robin Hood Foundation, and the New York City Department of Parks and Recreation. In 1996 Scher's widely imitated identity for The Public Theater won the coveted Beacon Award for integrated corporate design strategy. She has served on the board of directors of The Public Theater, and is a frequent design contributor to The New York Times, GQ and other publications. She served on the Public Design Commission of the City of New York from 2006 to 2015.

During the course of her career Scher has been the recipient of hundreds of industry honors and awards. In 1998 she was named to the Art Directors Club Hall of Fame, and in 2000 she received the Chrysler Award for Innovation in Design. She has served on the national board of the American Institute of Graphic Arts (AIGA) and was president of its New York Chapter from 1998 to 2000. In 2001 she was awarded the profession's highest honor, the AIGA Medal, in recognition of her distinguished achievements and contributions to the field, and in 2006 she was awarded the Type Directors Club Medal, the first woman to receive the prize. In 2012 she was honored with the Philadelphia Museum of Art's Design Collab Award, in 2013 she received the National Design Award for Communication Design, presented by the Cooper-Hewitt, Smithsonian Design Museum, in 2019 she was named a SEGD Fellow, in 2021 she was honored with the title Royal Designer for Industry (RDI), and in 2022 she received the D&AD Special President's Award. Scher has been a member of the Alliance Graphique Internationale (AGI) since 1993 and served as its president from 2009 to 2012.

Her work has been exhibited all over the world and is represented in the permanent collections of the Museum of Modern Art and the Cooper-Hewitt National Design Museum in New York, the Library of Congress in Washington, D.C., the Philadelphia Museum of Art, the Denver Art Museum, the Victoria and Albert Museum, London, the Museum für Gestaltung Zürich, and the Bibliothèque nationale de France and the Centre Georges Pompidou in Paris.

Scher holds a BFA from the Tyler School of Art and honorary doctorates from the Corcoran College of Art and Design, the Maryland Institute College of Art, Moore College of Art and Design, and Columbus College of Art and Design. Her teaching career includes over two decades at the School of Visual Arts, along with positions at the Cooper Union, Yale University and the Tyler School of Art. She is the author of Make It Bigger (2002), MAPS (2011) and 25 Years at the Public: A Love Story (2020), all published by Princeton Architectural Press, and the subject of Paula Scher: Works (2017), edited by Tony Brook and Adrian Shaughnessy and published by Unit Editions. Scher is featured in "Abstract: The Art of Design," the Netflix documentary series about leading figures in design and architecture.

# data[].attributes.attachment_link.description
Paula Scher is one of the most influential graphic designers in the world. Described as the "master conjurer of the instantly familiar," Scher straddles the lin...

# data[].attributes.attachment_link.readable_text
"a pioneer with profound impact" _Apple computers, 2014 AIGA Gold Medal, 2014

"CARSON forged graphic design into a cultural force and a medium with its own shape and direction. AIGA, 2014"

"the most important work coming out of america" american center for design

"he changed the public face of graphic design" - newsweek

"he changed the public face of graphic design" - newsweek

"One of America's most important artists...." _Smithsonian Institute magazine. March 2014

"One of America's most important artists...." _Smithsonian Institute magazine. March 2014

"the art director of the era" creative review, london

"the greatest living graphic designer.." -brain pickings

' Innovator, pioneer, groundbreaker, gamechanger
-- Carson deserves them all '--mark cameron/Fotorator

From CreativeReview Magazine,London: "David Carson was the last person whose work for a magazine shifted wider contemporary design" jan.2014

Graphic Design. Branding. Advertising. Consulting. Web, print + digital.

nucollage: "This book is a gorgeous testament to fresh design thinking, spontaneous creation and mind-melting collages and stories of the work"
-Paul Macfarlane, 2019

AIGA eye on design:
august 2019
"David Carson is a man who has transformed the field of graphic design throughout his career. Self-taught, resolutely grid-free, and unafraid to speak his mind (he's also very funny), Carson's work made designers realize that editorial layouts didn't have to stick to the rules around image placement, consistent typography, or doggedly flowing copy issue after issue.

His attitude-one he sees as partly underdog, partly "why not?"-carries through not only his most famous projects like art directing Ray Gun magazine or his work for Transworld Skateboarding, but also branding projects, surfboard designs, packaging design for potato chips, and more; making him as relevant today as ever.

It's rare to speak to a young designer who's into zines, music, and a generally less strict aesthetic, and have them not cite Carson as an influence. The American Center for Graphic Design has exalted him as having made "the most important work coming out of America," while Creative Review has called him "the art director of the era." In 2014, he was awarded the AIGA Gold Medal. But for all the praise he's received, he's rather lovely when we chat-and pretty humble to boot. He's also still really into surfing."

Jeffery Saddoris:
august 2019
"New Collages From Iconic Graphic Designer David CarsonDavid Carson has been on the leading edge of graphic design for decades and has created iconic work for some of the biggest companies and most important brands in the world. In his latest book, nu collage.001, Carson has created a new collection of collages without the constraints of clients or creative briefs and the resulting work is a brilliant evolution that straddles the line between art and design. This is Carson at his freeform best."

august 2019:
https://eyeondesign.aiga.org/anti-grid-icon-david-carson-on-why-computers-make-you-lazy-and-indie-mag-design-needs-to-liven-up/

" "Styles come and go. David's design is a language, not a style." -m. Vignelli
"a contemporary legend" Print magazine, 2016.
From CreativeReview Magazine,London: "David Carson was the last person whose work for a magazine shifted wider contemporary design" jan.2014
"CARSON forged graphic design into a cultural force and a
medium with its own shape and direction. AIGA, 2014"
'CARSON is the most googled graphic designer in history, even surpassing some well known fine artists' Eye magazine, london
"One of America's most important artists...." _Smithsonian Institute magazine. March 2014
" he changed the public face of graphic design" - newsweek
" the art director of the era" creative review london
" the most important work coming out of america" ameri-
can center for design
" the most influential graphic designer of our times"
surfrider foundation, july '09
" He significantly influenced a generation to embrace ty-
pography as an expressive medium" - steven heller 2010
" our biggest star" AIGA(american institute of graphic arts)
" the greatest living graphic designer.." -brain pickings, feb. 12, 2012..he feels the work..there's a strong element of intuition
-- and that fits because sometimes you can't describe
why his work is so beautiful." - Hillman Curtis

Graphic Design USA magazine(NYC) listed the "Most in
fluential graphic designers of the era" David was listed as
one of the top 5 most influential designers, along with
Milton Glaser, Paul Rand, Saul Bass and Massimo Vignelli.
' Innovator, pioneer, groundbreaker, gamechanger --
Carson deserves them all '--mark cameron/Fotorator may, 1, 2012

DC, april 28, 2012 : http://spiffingdesign.com/2012/spiffing-artists-..
spoke at FIT "I'll never forget when I asked David to speak at FIT and he agreed. The best way to relate is to quote what they said that when Aeschines spoke the people said, "How well he speaks"; but when Demosthenes spoke, they said, "Let us march!" Truly an inspiration and a great communicator"August 20, 2008 -Staz Tsiavos,

Albert Watson, Aldus Corporation, American Airlines, Armani, American Express, Ameritrade, AT&T, Atlanta Olympics Committee, Atlantic Records , Audi, Autobytel ,Bose, Beach Culture, Blue Magazine , Big NYC, Brand Acumen, British Airways, Bank of Montreal, Budweiser (Superbowl spot), Bush, Citibank , CNN, Cuervo Gold, Dali Museum, David Byrne, Dita watches, Eddie Bauer, Elias Associates NY, Fox TV , Gannet Outdoor, Gibbes Museum of Art in Charleston SC, Giorgio Armani , Glendale Federal, Harvard Graduate Program, Helvetica Film, Idea Magazine (Japan), Individual, Kodak , Leap Batteries (Canada), Levi's, LOFT, Lotus Software, Lucent Technologies, Laguna Beach Contemporary Art Museum, Lycra, Marshall McLuhan Estate, Magic Johnson AIDS Foundation , MCI, Meg Ryan, Mercedes Benz, Metropolis magazine , MGM Studios , Microsoft , Motrin Migarine , MTV, Nations Bank, NBC, Newsweek, Nike , Nine Inch Nails , Nissan, Omega, Packard Bell, Pepsi, PRINCE, Quiksilver , Ray Ban , Ray Gun Magazine, Ryder Trucks, Samsung, Sears, SOL Communications, Sony, Spalding, Speak magazine , Surfer's Path, Suzuki, Toyota, TwSkateboarding, twSnowboarding, UMPQUA Bank of Seattle, US West, Wallpaper Magazine, Warner Brothers,Yale university, Western Union, Xerox .

David Carson is a man who has transformed the field of graphic design throughout his career. Self-taught, resolutely grid-free, and unafraid to speak his mind (he's also very funny), Carson's work made designers realise that editorial layouts didn't have to stick to the rules around image placement, consistent typography, or doggedly flowing copy issue after issue.

His attitude-one he sees as partly underdog, partly "why not?"-carries through not only his most famous projects like art directing Ray Gun magazine or his work for Transworld Skateboarding, but also branding projects, surfboard designs, packaging design for potato chips, and more; making him as relevant today as ever.

It's rare to speak to a designer who's into zines, music, and a generally less strict aesthetic, and have them not cite Carson as an influence. The American Center for Graphic Design has exalted him as having made "the most important work coming out of America," while Creative Review has called him "the art director of the era." In 2014, he was awarded the AIGA Gold Medal. But for all the praise he's received, he's rather lovely when we chat-and pretty humble to boot. He's also still really into surfing."

-aigia/eyeondesign 2019.

david+signal_design+porsche, 2021.

poster for sale:

davids 2019 street poster for spain REC festival.

$225. signed. 3ft.x5 ft. +shipping.

PayPal only :david@dcarsondesign.com

davids new book,

davids brand new book.
nucollage
now avialble to order.
first print run are all autographed.
order here:
hulamediagroup.com

dc nu cover design for april 2019 issue of marketing tribune, nl

2019 Rec popupstore festival spain.
⁣⁣" Love this poster because we are the last two 90s designers still left standing as such, me as wishful thinking, and you for real, even if it's on one leg ! That poster is a classic of the period and every museum that has a graphic design collection should acquire one...Ed Fella

new work for john coltrane '63. 5 album boxed set. fall 2018.

global rebranding for c-skins wetsuits. 2018.

new collage work, 2018.

Zoku hotel , room art, 2018/19

lecture and exhibition posters, at Virginatech. 2018

cover for dutch magazine, volkskrant magazine. april 2018

rebranding, c-skins wetsuits, 2018.

rebranding, c-skins wetsuits, 2018.

cover for what youth magazine

puma campaign

2017 program for young creatives

cover, volkskrant magazine issue on creativity. 2018

dc work while in so, korea 2016/7

nu work, 2017.
nu surfboard collaboration with album surfbds,

wall mural in playa del rey california

Davids work for the channel islands national park is in the permanent collection of the library of congress.

david inducted into East Coast Surfing Hall of Fame, 2017.

Spain's 'tonight' show, the "late motiv" wed.feb.15, 2017. Graphic Designer on a late night talk show? David may be the first....

david's cover for The Drum magazine, march 2017.

davids cover for new nin double album. 2017. foto:dc

dc, vancouver,bc, Design Thinkers Conference, June 2017.

permanent collection, london museum of design.

National magazine, summer 2017.

David Carson named Design Director for Airborne Motors, makers of the worlds first true PAV, personal air vehicle.

click

Packaging Design, 2017.

click

2018 line (in process)

special limited edition poster designed ,screen primted+signed by DC. contact david at David@dcarsondesign.com if interested in purchase.

2014 david was selected as one of apple computers"30 most innovative users"
in their 30 year history. (only two graphic designers were selected)
"A pioneer with profound impact"

http://www.apple.com/30-years/1992/

davids poster for his A.I.G.A., austin lecture. 2014. the poster was Arminized* before printing. (*changing ones work without permission or discussion)

world wide branding campaign, microsoft

David Carson: Featured Speaker at Grafik15

"Have fun." David Carson's closing message is anything but glib-- profound, in truth and action. It's the driving force behind the graphic designer's body of work; a philosophy that he applies to life in general. The international legend, known for his iconoclastic style, experimental typography, and distinctive magazine layouts, spoke at Plaza Klub on Friday night as part of Grafik15's three day graphic arts extravaganza, taking place March 13-15 in Zurich. During the evening, which was much like a spontaneous, grand oeuvre tour led by sage/comedian Carson, the audience was treated to an inside glimpse of a creative brain.
Carson is an entertaining presenter, beyond doubt. At one point, he showed a photograph he had taken while driving ("texting and driving is illegal, so I take pictures while driving") of a lone bike on the back of a huge flatbed trailer. With his characteristic dry wit, Carson quipped, "What a way to transport a bike!" Interspersed with his commissioned designs and publications, these odd, funny moments he captures serve as testament to his ability to notice details in his surroundings, part of the landscape that impacts and reflects his art.
He's an advocate of freedom and authenticity, stressing that he believes in everything he produces. He also urges abandonment of templates. "Never use guidelines," Carson instructs, promoting creative freedom, self-expression, and aesthetic instinct.
A surfer, former teacher, and sociology major, Carson is candid and unassuming, sharing personal stories that almost serve as design parables, in the most natural way. "Be open to accidents," he says, noting that this doesn't mean to celebrate mistakes, but rather to stay open to what you might not expect at first, rather than trying to control outcome.
His favorite projects include working with Nine Inch Nails and Beach Culture Magazine. He uses QuarkXPress. He painted his driveway a rainbow of colors, because plain was boring, and he painted his array of surfboards plain white, as an artistic expression. "Always do something that pleases you." David Carson is a series of surprises, and someone who clearly loves what he does.
- Caitlin E. Krause

@CKwriter
www.flickr.com/caitlinkrause

honored to be included in novum magazine, switzerland, 90 year anniversary issue. 8 designers were selected to be highlighted in the issue, including hermann Zapf, milton glaser, uwe loesch, fons hickmann, francesco franchi. novum is long considered the top graphic design magazine coming from europe

click

DC designed cover,+ 12pg interview/article with dc inside. what Youth magazine, summer 2015.

2015. Davids poster for the 50th anniversary of the Society of Publication Designers, nyc. available soon at SPD site.

While going into this photobook I would not normally be interested in the kind of commercial photography that is largely exhibited, the power of Watson's images was hard to deny. I could still feel a powerful mood, sense of history, and artistry in looking at them; whether it be one of the many portraits, artifacts from the Apollo missions, or a snapshot similar to what I gravitate towards as a photographer.

However, as someone who is also a graphic designer, what stole the show for me was the design treatment by David Carson. The individual attention given to the design of the captions and text in this photobook by the designer David Carson is incredible. Every photograph and piece of text is given it's own personality-deservedly so-yet at the same time, everything feels like it belongs to the same family within the book. The treatment of the design and typography meet the task of matching the tone or content of the photograph(s) it is paired with; sometimes overtly, sometimes more subtly and abstractly. Rather than overpowering the photography-as you might expect would happen with the application of more expressive design-Carson's design synthesizes with the content, creating a world and story that is unique to the book. A story that is told not only with photography but words, yet it must be seen and felt rather than read to be understood.

http://lightsideinhabitant.tumblr.com/post/109161546568/cyclops-..

DCD is the cover story for feb.2015 issue of design magazine, the T ,from south korea. An extensive interview,and samples of work, over 17 pages.......

no gmo logo

dcd branding for studios architecure, nyc.

bnj co. logo

graphics and design for global social media site.

app development work.

those interested in seeing Carson's work fire on all cylinders, and getting a better understanding of its wider cultural importance, check out his design for The Book of Probes, a collection of McLuhan aphorisms and adages, quips and japes, .......... In his essay about The Book of Probes, McLuhan expert W. Terrence Gordon writes that Carson's treatment of McLuhan's words "provides a haven of rest for an eye exhausted by the price it pays for its addiction to linear space . . . Carson tweaks the nose of our eye with a wake-up call to resonant utterance, scattering visual reminders of how we impoverish our sensory lives by clinging to linearity."

Read more: David Carson, Marshall McLuhan, and the End of Print (Again) "

spread" from the book of probes,"

brand acumen (music: SKALPEL) click

David,
It has been an absolute pleasure and an honor to have the chance to work with you.
No one else could have captured our "mold-breaking" ideology quite like you did.
Cheers,
Suzanne / Brand Acumen
nov.2013.

David is honored to be the featured design speaker at the International Festival of Creativity, for advertising and agency creatives, held in Dubai this coming march, March 8th 2015

March 2015. david spoke at the Dubai Lynx International Festival of Creativity , and judged their advertising awards...

# data[].attributes.attachment_link.readable_text
The Saul Bass Poster Archive

This online archive was created to feature the many posters designed by Saul Bass (1920-1996) throughout his sixty year career, with examples drawn from his private collection. The collection is in the process of being catalogued with only a portion currently on view. When complete, this online archive will contain a full selection of film and non-film posters, limited-edition print materials, publications and some personal designs.

# data[].attributes.attachment_link.description
The Saul Bass Poster Archive This online archive was created to feature the many posters designed by Saul Bass (1920-1996) throughout his sixty year career, with examples drawn from his private collection. The collection is in the process of being catalogued with only a portion currently on view.

# data[].attributes.attachment_link.description
Sagmeister & Walsh is a NYC based full service design firm that creates identities, commercials, websites, apps, films, books and objects for clients, audiences and ourselves.

# data[].attributes.attachment_link.title
Profile: Michael Bierut: : Design Observer

# data[].attributes.attachment_link.description
Episode 94: Women of the Year Elena Ferrante's My Beautiful Friend on HBO, Olivia Jaimes' Nancy, Esperanza Spalding, Tierra Whack, Aretha Franklin's Amazing Grace, Max Richter, Henry Cobb: Words and Works, Oddityviz, The True Size, Dunkin', Stack, Pamela's gluten-free graham crackers, Clausthaler Dry-Hopped Non Alcoholic Beer

# data[].attributes.attachment_link.description
Milton Glaser (b.1929) is among the most celebrated graphic designers in the United States. He opened Milton Glaser, Inc. in 1974, and continues to produce an astounding amount of work in many fields of design to this day.

# data[].attributes.attachment_link.title
Home | Paul Rand, American Modernist (1914-1996)

# data[].attributes.attachment_link.provider_name
AIGA | the professional association for design

# data[].attributes.attachment_link.readable_text
This article originally appeared on Quartz.
Hermann Zapf, the designer of fonts such as Palatino, Optima, Zapfino, Melior, Aldus, and the bizarre but much beloved Zapf Dingbats, has died at age 96.

The revered German typographer and calligrapher passed away on June 4. In his long and prolific career, Zapf worked on many fonts, but his personal favorite was the humanist sans serif typeface Optima, the lettering chosen for the Vietnam Veterans Memorial wall in Washington, DC.

Zapf was among the pioneers of computerized typography, experimenting with computer-aided typesetting from the 1960s. He led a seminal design program at the Rochester Institute of Technology where he collaborated with computer scientists and became acquainted with IBM and Xerox. Zapf invented a typesetting program called Hz-program, which later informed the design of the desktop publishing software Adobe InDesign.

In the late 1970s, he created more than a thousand simple symbols, a subset of which were selected for the font Zapf Dingbats. (Dingbats are a type of font in which symbols are represented by letters and numbers.) Zapf Dingbats became famous when it was selected for inclusion in several early computers, including Apple's LaserWriter Plus.

Born in Nuremburg, Zapf was only a day old when the German monarchy was toppled by the November Revolution in 1918. That same year, the Spanish flu besieged Europe and took the lives of two of his siblings.

Zapf started tooling with font-making as a child. At 12, he invented a special alphabet so he could exchange secret messages with his brother and hide their boyhood antics and mischief from their parents.

"They were some kind of cross between Germanic runes and Cyrillic, and could only be deciphered if you knew the code. My despairing mother could not make head nor tail of them," Zapf wrote in his autobiography, published by his long-time employer Linotype. He designed his first font, Gilgengart when he was 20.

He served as a cartographer for the German army during WWII, drawing maps of Spain. At the end of the war, he was imprisoned by the French but said he was treated well. "They had a great deal of respect for me as an 'artiste,'" he wrote. "I think the French still have this respect today."

The short film (below), The Art of Hermann Zapf, commissioned by Hallmark in 1967, offers a vivid glimpse of Zapf's remarkable talent and serves as an elegy to the dying art of hand lettering and penmanship that he practiced throughout his life.

Zapf is survived by his wife, Gudrun Zapf von Hesse who is also an accomplished type designer and calligrapher.

About the Author:
Anne Quito is a journalist and covers design and architecture for Quartz, Atlantic Media's global business news site. She holds a master's degree in visual culture from Georgetown University and an MFA in design criticism from the School of Visual Arts. Her MFA thesis on the nation branding of the world's newest country, South Sudan, has been featured on NPR. Anne has contributed to numerous publications including Works that Work, AIGA Design Eye, and Core 77. An experienced art director, she is also the founding director of Design Lab, a design practice within an international development organization.

# data[].attributes.attachment_link.title
Font designer Hermann Zapf, has died at 96

# data[].attributes.attachment_link.description
This article originally appeared on Quartz. Hermann Zapf, the designer of fonts such as Palatino, Optima, Zapfino, Melior, Aldus, and the bizarre but much beloved Zapf Dingbats, has died at age 96. The revered German typographer and calligrapher passed away on June 4.

# data[].attributes.attachment_link.readable_text
A man with a very technology-oriented background, Beall grew up playing with Ham radios and creating his own wireless sets. He graduated with a Ph.D in the History of Fine Art and the years following his graduation found him expressing an interest in modern art movements such as Surrealism, Constructivism and Dadaism. His work as an advertiser and graphic designer quickly gained international recognition and the most productive years of his career, during the 1930s and 40s, saw many successes in both fields.

His clear and concise use of typography was highly praised both in the United States and abroad. Throughout his career he used bold primary colors and illustrative arrows and lines in a graphic style that became easily recognizable as his own. He eventually moved to rural New York and set up an office, and home, at a premises that he and his family called "Dumbarton Farm". He remained at the farm until his death in 1969.

# data[].attributes.attachment_link.description
History of Graphic Design, Graphic Designers, Art and Design Movements, Motion Graphics, Typography, Color, Design, graphic, Design, Reference, Referenced, A collection of information intended to be used as a primer and a reference tool in relation to the history of graphic design

# data[].attributes.attachment_link.title
Claude Garamond - Font Designer of Garamond

# data[].attributes.attachment_link.description
Punch cutter, publisher, type founder and font designer Claude Garamond was born in 1480, died in 1561 and created the font families Garamond and Sabon.

# data[].attributes.attachment_link.readable_text
From time to time there seems to be no correlation between the amount of work a designer has in the AIGA Design Archives and his or her significance in the world, let alone the design community. Such is the case with graphic designer and art director Cipe Pineles, who surprisingly only has half a dozen or so entries in the Design Archives and none from her groundbreaking work at magazines like Seventeen, Charm, and Mademoiselle. Fortunately, this didn't affect her posthumous AIGA Medal, awarded in 1996. Among her many accomplishments, Pineles was the first independent woman American graphic designer, and served as a role model for the next generation of women in design.

A graduate of Pratt Institute in 1929, Austrian born Cipe Pineles (1908-1991) was hired by Mr. Condé Nast himself in the early '30s and worked as a designer at Vogue with art director Dr. M.F. Agha before becoming the first American woman art director at Seventeen, where she commissioned fine artists to illustrate the pages of the magazine, effectively bringing modern art to the attention of a young public. Among the young artists she championed were Richard Anuskiewicz, Ben Shahn and his wife Berarda Bryson, and AIGA Medalist Seymour Chwast. She worked with myriad designers and photographers, among them AIGA Medalist Herbert Matter, Cornell Capa, Toni Frissell, AIGA Medalist Ladislav Sutnar, and Richard Lindner.

Pineles was considered by many to be the perfect art director, affording the artists she worked with great freedom. She also created her own illustrations and innovative typography for some of the most experimental women's magazines of the time, including Charm and Glamour. Pineles was even welcomed into the good ol' boys club: she was the first woman to be asked to join the all-male New York Art Directors Club and the second woman to be inducted into the Art Directors Club Hall of Fame in 1975.

In 1963 she joined the faculty of Parsons and became their director of publication design, positions she held through the mid '80s. One entry in the Design Archives is the result of her editorial course, in which she required students to come up with the subject, define the audience, and develop an entire magazine, as well as all the marketing materials. That project, the Parsons Bread Book: A Celebration of the Art of Baking Bread and the Great Bakers of New York City by Students at Parsons School of Design Who Made This Book, was so well received that a trade paperback edition was published by Harper and Row in 1974 and was named one of the AIGA's 50 Books of the Year in 1975. She also created the Parsons/Otis Parsons catalog covers and posters featuring apples and oranges representing New York and Los Angeles, creating an indelible icon for the school. She continued to teach through her 70s before retiring.

# data[].attributes.attachment_link.title
How Cipe Pineles Paved the Way for Female Designers-and Turned Fashion Mags into Art

# data[].attributes.attachment_link.description
From time to time there seems to be no correlation between the amount of work a designer has in the AIGA Design Archives and his or her significance in the world, let alone the design community.

# data[].attributes.attachment_link.description
History of Graphic Design, Graphic Designers, Art and Design Movements, Motion Graphics, Typography, Color, Design, graphic, Design, Reference, Referenced, A collection of information intended to be used as a primer and a reference tool in relation to the history of graphic design

# data[].attributes.attachment_link.readable_text
As with most graphic designers that can be classified as part of the Swiss International Style, Joseph Müller-Brockmann was influenced by the ideas of several different design and art movements including Constructivism, De Stijl, Suprematism and the Bauhaus. He is perhaps the most well-known Swiss designer and his name is probably the most easily recognized when talking about the period. He was born and raised in Switzerland and by the age of 43 he became a teacher at the Zurich school of arts and crafts.

The above poster for the Zurich Town Hall is perhaps Müller-Brockmann's most recognized, and most ripped off, piece of work.

Perhaps his most decisive work was done for the Zurich Town Hall as poster advertisements for its theater productions. He published several books, including The Graphic Artist and His Problems and Grid Systems in Graphic Design. These books provide an in-depth analysis of his work practices and philosophies, and provide an excellent foundation for young graphic designers wishing to learn more about the profession. He spent most of his life working and teaching, even into the early 1990s when he toured the US and Canada speaking about his work. He died in Zurich in 1996.

# data[].attributes.attachment_link.title
Joseph Müller-Brockmann : Design Is History

# data[].attributes.attachment_link.description
History of Graphic Design, Graphic Designers, Art and Design Movements, Motion Graphics, Typography, Color, Design, graphic, Design, Reference, Referenced, A collection of information intended to be used as a primer and a reference tool in relation to the history of graphic design

# data[].attributes.attachment_link.readable_text
The beginning. Introduced to graphic design by high school art teacher Leon Friend, Chwast joins Abraham Lincoln High's elite art squad (alumni include Gene Federico and Alex Steinweiss). The group required a portfolio for entry-the beginning of professional life-creating on demand posters, banners, and other materials for school events and social causes. On Saturdays, Chwast often took the subway from Coney Island to Manhattan, ate lunch at the automat, and then spent the afternoon in front of paintings at the Museum of Modern Art. The trips cement his love for expressionism, and expose him to works by Frans Masereel, Georges Rouault, and Ben Shaun, whose 1947 MoMA retrospective had a great influence on the young designer.

Graduates from Abraham Lincoln High School, Brooklyn.

Publishes his first illustration (a drawing of himself dancing at a party) in "It's All Yours" issue of Seventeen. Art direction by Cipe Pineles.

Origin story. At Cooper Union, studying drawing and painting, Chwast learned he excelled as a nonconformist. After graduation and a few unsuccessful stints in art and promotion departments, he and fellow Cooper classmates Edward Sorel and Milton Glaser form Push Pin Studios in 1954 ( Reynold Ruffins joins shortly thereafter). Their fortuitous partnership, along with publication of the Monthly Graphic (started in 1957 and sent to 3,000 art directors), establishes the studio as a force of visual and conceptual imagination. A flood of freelance assignments ignites Push Pin's unique culture of collaboration.

Postmodern pioneer. Chwast borrows freely from the past-victoriana, art nouveau, art deco-to create new works that wholly integrate type and art. His expressive poster, book, and packaging designs are resolutely individual, in contrast to the narrative realism of illustration, and the confining sameness of modernism, both popular into the 1960s. Fluent in historical styles and movements, Chwast experiments with primitive folk art, surrealism, expressionist woodcuts, and photomontage. Meanwhile, the Push Pin Graphic provides a continual outlet for the studio's growing cadre of members-a thematic showcase of talent. Art directed by Chwast and Glaser, each issue tackles a subject, from the arcane ( Nutrition and Health, #53), to the political ( The South, #54).

Publishes " The South " issue of Push Pin Graphic

Critical acclaim. A sign of American design's influence abroad, in 1970 " The Push Pin Style," a retrospective of the studio's output opens at the Louvre's Musée des Arts Décoratifs. Push Pin charters a private plane for the event, bringing one hundred guests to the opening in Paris. The first time graphic design is displayed inside the famous museum, the European press praises the groundbreaking show. The exhibition later travels throughout Europe and to Tokyo, Japan, further spreading the group's influence. After Glaser leaves to start his own studio in 1975, Chwast continues to direct Push Pin, leading the studio for the next 40 years.

Cofounds Push Pin Press, to produce trade books on popular culture. Titles include: The Illustrated Cat, The Literary Dog, The Illustrated Flower, and The Great American T-Shirt.

Seymour Incorporated. Joining forces with designer Alan Peckolick, the two merge studios to become Pushpin Lubalin Peckolick in 1982. The partnership only lasts a few years, and Pushpin's client base continues expanding with work for larger corporate clients, including: American Express, Mobil Oil, Mohawk Paper, New York Times, and Time Warner. Renamed the Pushpin Group in 1985, the firm diversifies, adding representation services for illustrators, an audio visual arm, and a product line.

Heavy metal. During this period, Chwast begins working in what he calls "two and a half dimensions," creating large-scale works cut out of sheet metal and painted with acrylic. The pieces take on many forms: television sets, cars, plates of food, household objects, people, and body parts. Exhibited widely, Chwast enjoys the freedom these works afford, allowing him to experiment beyond the limits of "objects against a background." The series is inspired by a small metal sculpture, gifted to Chwast by designer and friend Ivan Chermayeff.

It's not easy to leave a home like The Times, where so many friends and brilliant colleagues remain. I am grateful to all of them, as well as to a pair of unexpected collaborators, the artists Seymour Chwast and Barry Blitt, whose inspired drawings took on an Op-Ed life of their own.

- Frank Rich, New York Times, 2011

Obsessions. Beyond frequent client assignments and editorial projects, Chwast continually mines his own psyche for expressive material to explore, examine, and uncover. Reminiscent of the WWII battles he often drew as a child, for a period in the mid-2000s he obsessively paints elaborate scenes of warfare, brilliantly filled with planes, parachutes, tanks, and fighting men. These and other recurring fixations are documented in a 2009 book published by Chronicle. The Nose, started in 1996, provides another fertile outlet for experimentation, and continues in the Push Pin Graphic tradition, as a vehicle of both promotion and expression. The publications' broad subject matter-bigotry, the death penalty, fear, truth & lies, tricks, the lost art of letter writing-provides further insight into Chwast himself.

The present. A self-described "designer who illustrates," Chwast is now well into his sixth decade of professional practice, and his body of work continues to expand tirelessly. In 2010, he began a series of graphic novels for Bloomsbury, creating his own humorous and accessible adaptions of modern classics The Canterbury Tales, The Odyssey, and Dante's Inferno.

# data[].attributes.attachment_link.description
The beginning. Introduced to graphic design by high school art teacher Leon Friend, Chwast joins Abraham Lincoln High's elite art squad (alumni include Gene Federico and Alex Steinweiss). The group required a portfolio for entry-the beginning of professional life-creating on demand posters, banners, and other materials for school events and social causes.

# data[].attributes.attachment_link.description
History of Graphic Design, Graphic Designers, Art and Design Movements, Motion Graphics, Typography, Color, Design, graphic, Design, Reference, Referenced, A collection of information intended to be used as a primer and a reference tool in relation to the history of graphic design

# data[].attributes.attachment_link.description
History of Graphic Design, Graphic Designers, Art and Design Movements, Motion Graphics, Typography, Color, Design, graphic, Design, Reference, Referenced, A collection of information intended to be used as a primer and a reference tool in relation to the history of graphic design

# data[].attributes.attachment_link.description
I've started to consolidate my efforts on Design.Co with side-blogging on maeda.pm and remotedesignteam.com. The Laws of Simplicity site has a new refresh, but I am likely to migrate it over to Design.Co. In my earlier years at MIT, I wrote a few books on design, tech, and business: - Redesigning Leadership (2011) - Laws of ...

# data[].attributes.attachment_link.description
History of Graphic Design, Graphic Designers, Art and Design Movements, Motion Graphics, Typography, Color, Design, graphic, Design, Reference, Referenced, A collection of information intended to be used as a primer and a reference tool in relation to the history of graphic design

# data[].attributes.attachment_link.description
History of Graphic Design, Graphic Designers, Art and Design Movements, Motion Graphics, Typography, Color, Design, graphic, Design, Reference, Referenced, A collection of information intended to be used as a primer and a reference tool in relation to the history of graphic design

# data[].attributes.attachment_link.title
Alvin Lustig, Modern American Design Pioneer 1915-1955

# data[].attributes.attachment_link.description
The Alvin Lustig archive includes over 400 designs from this important Modern American Design Pioneer. Included are books, architecture, interiors, ads, identity and print.

# data[].attributes.attachment_link.readable_text
Lucian Bernhard

Stuttgart 1883 - New York 1972 The designer Lucian Bernhard was born as Emil Kahn in Stuttgart in 1883, adopting his nom d'artiste as a designer and graphic artist in 1905. Lucian Bernhard studied at the Munich Art Academy before going to Berlin in 1901.

In Berlin Lucian Bernhard worked as a commercial artist, designing posters which were notably influenced by the progressive style cultivated by the Beggarstaff brothers, the British artists William Nicholson (1872-1949) and James Pryde (1866-1941).
Lucian Bernhard was one of the most important German poster artists. He played a paramount role in shaping the style of product advertizing posters. The product advertized was combined with the tradename or the company name in large letters and placed against a spacious background in a palette that was downplayed. The lettering used by companies such as Bosch, Kaffee Hag and Pelikan still derives from the models created by Lucian Bernhard.
In 1914 Lucian Bernhard designed a poster for Bosch featuring a greatly simplified sparkplug, aptly topped by the spark it generates, and next to it the name Bosch in densely outlined lettering.
In Berlin Lucian Bernhard belonged to a group of graphic designers who submitted poster designs on a regular basis to the printers Hollerbaum & Schmidt, who were known for their progressive advertizing posters. In the years between 1910 and 1920, however, Lucian Bernhard worked mainly as a designer for the Deutsche Werkstätten Dresden-Hellerau. As artistic director there he designed furniture, wallpaper, carpets and lighting from 1910. In 1920 Lucian Bernhard became the first professor ever for poster art, at the "Akademie der Künste" in Berlin. Three years later Lucian Bernhard moved to New York, where he opened a design studio while continuing to run his Berlin studio. In the US Lucian Bernhard designed new scripts for American Type Founders, creating some thirty-six of them.
Lucian Bernhard also worked as an architect, designing office buildings, factory buildings and numerous private dwellings. Around 1930, however, he completely turned to painting and sculpture.

# data[].attributes.attachment_link.title
Lucian Bernhard Biography - Infos for Sellers and Buyers

# data[].attributes.attachment_link.description
Stuttgart 1883 - New York 1972 The designer Lucian Bernhard was born as Emil Kahn in Stuttgart in 1883, adopting his nom d'artiste as a designer and graphic artist in 1905. Lucian Bernhard studied at the Munich Art Academy before going to Berlin in 1901.

# data[].attributes.attachment_link.description
History of Graphic Design, Graphic Designers, Art and Design Movements, Motion Graphics, Typography, Color, Design, graphic, Design, Reference, Referenced, A collection of information intended to be used as a primer and a reference tool in relation to the history of graphic design

# data[].attributes.attachment_link.description
Creators of many of the world's most iconic and enduring brands, Chermayeff & Geismar & Haviv is an independent New York based graphic design firm specializing in the development of trademarks.

# data[].attributes.attachment_link.description
History of Graphic Design, Graphic Designers, Art and Design Movements, Motion Graphics, Typography, Color, Design, graphic, Design, Reference, Referenced, A collection of information intended to be used as a primer and a reference tool in relation to the history of graphic design

# data[].attributes.attachment_link.description
History of Graphic Design, Graphic Designers, Art and Design Movements, Motion Graphics, Typography, Color, Design, graphic, Design, Reference, Referenced, A collection of information intended to be used as a primer and a reference tool in relation to the history of graphic design

# data[].attributes.attachment_link.readable_text
Weingart was most influential as a teacher and a design philosopher. He began teaching at the Basel School of Design, where he was appointed an instructor of typography by Armin Hofman in 1963. He also taught for the Yale University Summer Design Program in Brissago. Throughout his entire career he spent time traveling and lecturing throughout Europe, the Americas, Asia and Australia.

He taught a new approach to typography that influenced the development of New Wave, Deconstruction and much of graphic design in the 1990s. While he would contest that what he taught was also Swiss Typography, since it developed naturally out of Switzerland, the style of typography that came from his students led to a new generation of designers that approached most design in an entirely different manner than traditional Swiss typography.

# data[].attributes.attachment_link.description
History of Graphic Design, Graphic Designers, Art and Design Movements, Motion Graphics, Typography, Color, Design, graphic, Design, Reference, Referenced, A collection of information intended to be used as a primer and a reference tool in relation to the history of graphic design

# data[].attributes.attachment_link.description
01. Stephen Malkmus & The Jicks - Sparkle Hard (Orion cover design! Rexroad cover photo!) 02. Sleep - The Sciences 03. Howlin Rain - The Alligator Bride 04. Duran Duran - Rio 05. Duran Duran - Seven and the Ragged Tiger 06. Deep Purple - In Rock 07.

# data[].attributes.attachment_link.title
Tate Logo - Marina Willer  |  Logo design & Designer review

# data[].attributes.attachment_link.title
FedEx Logo - Lindon Leader  |  Logo design & Designer review

# data[].attributes.attachment_link.title
Deutsche Bank Logo - Anton Stankowski  |  Logo design & Designer review

# data[].attributes.attachment_link.title
HSBC Logo - Henry Steiner  |  Logo design & Designer review

# data[].attributes.attachment_link.description
Need a quote for your project? Have a question about our work or services? Just let us know. Whether you're a small business or a large corporation, we look forward to working with you on your next creative endeavor.

# data[].attributes.attachment_link.title
Chupa Chups Logo - Salvador Dali  |  Logo design & Designer review

# data[].attributes.attachment_link.readable_text
Neville Brody is a London born designer who studied design in Britian during the 1970s. He spent three years studying at the London College of Printing where his work, which was quite experimental in nature, was met with quite unfavorable criticism because the school generally taught traditional printing methods. He gained a fair amount of attention as an art director for The Face magazine, where he worked from 1980 to 1993. The magazine was very popular in the 1980s, it was called a "fashion bible" and set many of the trends of design which enjoyed success during the same time period.

In 1994 he formed Neville Brody Studio, now Research Studios, which has enjoyed much success and has since expanded to include offices in London, Paris, Berlin and Barcelona. He is a founding member of the London based type foundry Fontworks and has designed over 20 different typefaces during his career. He was also a major contributor to FUSE, which was a publication about the practice of experimental typography and was an avid user of the computer as a design tool during its developmental stages.

# data[].attributes.attachment_link.description
History of Graphic Design, Graphic Designers, Art and Design Movements, Motion Graphics, Typography, Color, Design, graphic, Design, Reference, Referenced, A collection of information intended to be used as a primer and a reference tool in relation to the history of graphic design

# data[].attributes.attachment_link.description
History of Graphic Design, Graphic Designers, Art and Design Movements, Motion Graphics, Typography, Color, Design, graphic, Design, Reference, Referenced, A collection of information intended to be used as a primer and a reference tool in relation to the history of graphic design

# data[].attributes.attachment_link.readable_text
Bradbury Thompson was truly a master of almost every aspect of the design profession. He studied printing production, was an art director for Mademoiselle magazine, designed books, pushed the boundaries of conventional typography and taught design at Yale University. He designed 60+ issues of Westvaco Inspirations for the Westvaco Paper Corporation. His designs reached thousands of designers, printers and typographers.

Born in 1911 in Topeka, Kansas and educated at Washburn University Thompson stayed in touch with the university throughout his career. From 1969-1979 Thompson worked together with Washburn to create the Washburn Bible. The book was the most significant development in Bible typography since Gutenberg first published his masterpiece in 1455. Another significant point in his career, in the field of typography, was his publication of Alphabet 26, which was labeled as a monoalphabet. It contained only 26 unique characters, case was established by size only instead of entirely new characters (i.e. r/R, e/E, a/A). Thompson's work garnered him the highest award of every major design organization including AIGA, the Art Directors Club and the Type Directors Club. He died in 1995.

# data[].attributes.attachment_link.description
History of Graphic Design, Graphic Designers, Art and Design Movements, Motion Graphics, Typography, Color, Design, graphic, Design, Reference, Referenced, A collection of information intended to be used as a primer and a reference tool in relation to the history of graphic design

# data[].attributes.attachment_link.description
History of Graphic Design, Graphic Designers, Art and Design Movements, Motion Graphics, Typography, Color, Design, graphic, Design, Reference, Referenced, A collection of information intended to be used as a primer and a reference tool in relation to the history of graphic design

# data[].attributes.attachment_link.description
His clients included the United Nations, London Transport, British Airways, Shell, the Financial Times and Guinness. He designed stamps for Britain, Jersey and Israel, book jackets for Penguin books and emblems for the Festival of Britain and the Queen's Award for Industry.

# data[].attributes.attachment_link.description
April Greiman is a thinker and artist, whose transmedia projects, innovative ideas and projects, and hybrid-based approach, have been influential worldwide over the last 30 years. Her explorations of image, word and color as objects in time and space are grounded in her singular fusion of art and technology.

# data[].attributes.attachment_link.title
AT&T Logo - Saul Bass  |  Logo design & Designer review

# data[].attributes.attachment_link.title
MIT Media Lab Logo - Michael Bierut  |  Logo design & Designer review

# data[].attributes.attachment_link.title
I Love New York Logo - Milton Glaser  |  Logo design & Designer review

# data[].attributes.attachment_link.description
In this video we are going to look at the I Love New York logo, learn a little about the logo and the designer Milton Glaser.

# data[].attributes.attachment_link.title
Michael Bierut - Graphic Designer | The Creative Influence Ep.13

# data[].attributes.attachment_link.provider_name
AIGA | the professional association for design

# data[].attributes.attachment_link.readable_text
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 been a principal in the New York office of the distinguished international design consultancy Pentagram since 1991. She began her career as an art director in the 1970s and early '80s, when her eclectic approach to typography became highly influential. In the mid-1990s her landmark identity for The Public Theater fused high and low into a wholly new symbology for cultural institutions, and her recent architectural collaborations have re-imagined the urban landscape as a dynamic environment of dimensional graphic design. Her graphic identities for Citibank and Tiffany & Co. have become case studies for the contemporary regeneration of classic American brands.

Scher has developed identities, packaging for a broad range of clients that includes, among others, The New York Times Magazine, Perry Ellis, Bloomberg, Target, Jazz at Lincoln Center, the Detroit Symphony Orchestra, the New Jersey Performing Arts Center, the New 42nd Street, the New York Botanical Garden, and The Daily Show With Jon Stewart. In 1996 Scher's widely imitated identity for the Public Theater won the coveted Beacon Award for integrated corporate design strategy. She serves on the board of The Public Theater, and is a frequent design contributor to The New York Times, GQ and other publications.

In 1998 Scher was named to the Art Directors Club Hall of Fame, and in 2000 she received the prestigious Chrysler Award for Innovation in Design. She has served on the national board of AIGA and was president of its New York chapter from 1998 to 2000. In 2001 she received the profession's highest honor, the AIGA Medal, in recognition of her distinguished achievements and contributions to the field. She is a member of the Alliance Graphique Internationale. Her work is represented in the permanent collections of the Museum of Modern Art and the Cooper-Hewitt National Design Museum, New York; the Library of Congress, Washington, D.C.; the Museum für Gestaltung Zürich; the Denver Art Museum; and the Bibliothèque nationale de France and the Centre Georges Pompidou, Paris.

Scher holds a BFA from the Tyler School of Art and a Doctor of Fine Arts Honoris Causa from the Corcoran College of Art and Design. She has lectured and exhibited all over the world, and her teaching career includes over two decades at the School of Visual Arts, along with positions at the Cooper Union, Yale University and the Tyler School of Art. She has authored numerous articles on design-related subjects for the AIGA Journal of Graphic Design, PRINT, Graphis and other publications, and in 2002 Princeton Architectural Press published her career monograph Make It Bigger.

# data[].attributes.attachment_link.description
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, including the graphic identities for Citibank and Tiffany & Co. Since 1991, she has been a principal in the New York office of Pentagram, and in 2001 she was awarded an AIGA Medal.

# data[].attributes.attachment_link.title
Citibank Logo - Paula Scher  |  Logo design & Designer review