The Design Encyclopedia

aiga

sue_apfelbaum@209.131.121.114 — 2008-01-07T06:50:34+01:00

AIGA

Official Description

[Source: aiga.org]

AIGA, the professional association for design, is the oldest and largest membership association for design professionals engaged in the discipline, practice and culture of designing. AIGA’s mission is to advance designing as a professional craft, strategic tool and vital cultural force.

Founded in 1914, AIGA is the preeminent professional association for communication designers, broadly defined. In the past decade, designers have increasingly been involved in creating value for clients (whether public or business) through applying design thinking to complex problems, even when the outcomes may be more strategic, multi-dimensional and conceptual than what most would consider traditional communication design. AIGA now represents more than 20,000 designers of all disciplines through national activities and local programs developed by 59 chapters and 200 student groups.

AIGA supports the interests of professionals, educators and students who are engaged in the process of designing. The association is committed to stimulating thinking about design, demonstrating the value of design and empowering success for designers throughout the arc of their careers.

Link

AIGA

esdi

barbara@201.37.205.67 — 2008-01-07T06:36:10+01:00

ESDI

Escola Superior de Desenho Industrial

Rio de Janeiro, Brazil

ESDI is a college of higher education in design, linked to the State University of Rio de Janeiro (UERJ). Founded in 1963, it is the oldest design college in Brazil and in Latin America.

Design is the field of knowledge dealing with the planning, programming and construction of the objects of daily life as well as the environments in which we conduct our lives. It covers a broad range of activities and can be subdivided into numerous specialities and levels of expertise. ESDI seeks to provide education in design in its broadest sense, equipping students with a solid foundation in the field and preparing them to pursue in depth their individual areas of interest.

The undergraduate course consists of a five-year programme of full-time study, leading to a diploma in design (equivalent to a U.S. or British B.A.) and covering both product design and graphic design. Admission to the course takes place via the appropriate public examination (vestibular) held annually by UERJ.

ESDI is located in an extremely central section of Rio de Janeiro, at the edge of the historic Lapa district. Its compact but pleasant campus consists of a set of buildings housing classrooms; modeling, metal, wood and printing workshops; photographic and computer laboratories; a library; and facilities for research.

International partner schools include the following: Fachhochschule Schwäbisch Gmünd, Hochschule für Gestaltung / Fachhochschule Potsdam, Fachbereich Design / Hochschule für Gestaltung Offenbach am Main / Hogelschool Antwerpen, Hoger Instituut voor Integrale Productontwikkeling / Ohio State University, Department of Design / University of Art and Design Helsinki / École des Beaux-Arts de Saint-Étienne / ENSCI (École Nationale Superieure de Creation Industrielle / Les Ateliers, Paris) / TU Delft, Faculteit Industrieel Ontwerpen

Link

http://www.esdi.uerj.br/english/index.html

playground

barbara@201.37.205.67 — 2008-01-07T06:26:04+01:00

The Playground

Use this space to test your Wiki syntax prowess. You may also use this space as a springboard to create links in order to start new pages.

This page will be cleansed every now and again.

Phaidon & Wallpaper Travel Guides

Testing… 1, 2… Testing

Give the wiki a whirl in this space. We will clean it up every now and then so don’t worry about making it not pretty.

Adrian Frutiger

Dutch Type Library

Christopher Simmons

Josef Muller-Brockmann

Design Corner

ESDI

memefest

olivervodeb@86.58.46.25 — 2008-01-06T00:28:04+01:00

Memefest

International festival of radical communication

Founded in 2002, Memefest is a complex international, semi-online project that uses the form of a festival as a tactical, educational, research and communications tool. It encourages students, academics, artists, professionals and activists to interrogate the commercialization of everyday life and critically analyze current dominant media and communication practices. Through an annual competition that transpires on the project’s website and various cultural events, Memefest aims to create a global cultural space that encourages research, creativity and critical reflection on consumer society while actively working towards social change. Ultimately, Memefest wants to help people shape the way meaning is produced in our society. Into this maelstrom, Memefest steps, awake to the fact that many of the dominant ideologies of modern consumer culture are inherently toxic to our physical and mental environment. And as such, the festival’s aim is to build a forum where the hold these “contagious ideas” have in our society can be investigated and critiqued. Moreover, Memefest bills itself as a “festival of radical communication” to indicate not only a commitment to finding revolutionary and extreme solutions to the ills that arise from consumer culture, but also to indicate a belief that a fundamental rethinking of communication is in order. It gives young people who are in the process of developing their analytical skills and creativity an opportunity to concentrate on building solutions to social problems and posit democratic forms of communication. And they get to do this in a supportive – yet challenging – environment before their talents and intelligence are coopted into the economic mainstream.

Year-round, Memefest serves as a forum for discussion and site for the exposition of radical communications strategies. All are welcome to cruise the site and to comment on content. Each year, Memefest singles out a text and/or image that serves as a focal point for a critical take on the current media environment. In the spring, the festival’s competition opens to both graduate and undergraduate students of Communication Studies, Sociology and Visual Arts (except the Beyond... category which is open to non-students as well). Participants are asked to respond to the chosen texts and images with written or visual entries (according to their discipline).

After the May deadline, submissions are evaluated by an international jury composed of distinguished professors and artists as well as professionals from the spheres of journalism, design, advertising and social marketing. Those who have submitted their works can view the jurors’ comments online. The best entries in each category, as chosen by the jury, will be awarded Award of Excellence. All entries are displayed on the site with comment boxes provided for visitor feedback. Memefest is ground-breaking because it is the only festival of its kind that encourages youth and students of different disciplines to try their hand at exploring the challenges of using communications to affect social change. Because it is unique and able to motivate and inspire people, Memefest has been gaining momentum since its inception.

In just five short years, the number of participants has grown enormously. Submissions now come in from every continent on the globe and, in 2004, Memefest welcomed close to 400 entries from 36 different Countries across all continents. In 2005, Memefest welcomed close to 500 entries, again from 36 countries, while in 2006 Memefest counted works from 30 countries, all continents. The web site is regularly visited by more than 60 Countries.

Since the beginning, the festival website has appeared in both, English and Slovenian. Thanks to the growing networks memefest has opened new nodes in its network: Memefest Latinoamerica with two teams in Brazil and Colombia with two websites in Spanish and Portuguese started communicating in end of february 2005. Memefest is also opening a node in Belgrade, which will be Memefests center for the whole Balkan area. These teams work virtually in the global Memefest networks as well as in physical space with Memefest sub projects in their own local environment. These nodes in the Memefest network not only promote media democracy and a critical attitude towards current market communication in South America, and in the Balkans but also act as a showcase for all of the festival’s South American and Balkan entries. One example of local intervention was the Memefest tactical media workshop, titled “Local communication for global ethics”, held in Manizales, Colombia in April 2006, directed by Memefest founder Oliver Vodeb.

Thus, though still a “new” festival, Memefest has become an important event and an internationally recognized figure in the media-activism community. As a festival, Memefest studies ideas and the processes of their dissemination. It encourages dialogue, collaboration, and through this, it is bringing together a vast number of ideas, concepts and tools, all of which are meant to support and inspire activist interventions within the public sphere. Memefest represents an intermediary institution and uses the form of a semi virtual festival as a tactical educational communications tool.

Memefest’s unofficial motto has been: “Subvert. Create. Enjoy.” It is a call to action. And while the play of dialogue that Memefest facilitates is edifying, the long term goal of the festival is to be a participant in the transformation of our society.

In 2007 Memefest became a special research field : “Critical studies of (visual) communication” at the Center for social psychology at the Faculty for social sciences- University of Ljubljana, Slovenia. It also opened a new local center in Barcelona and is currently (jan 2008) working on a local center in the United Arabic emirates, based at the American university of Sharjah.

Memefest is also tightly connected with Studio Poper, based in Ljubljana and Inkahoots, based in Brisbane- both professional communications/ design studios that practice socially responsible /radical communications.

Link

Memefest

wishlist

cadencia3d@195.166.131.89 — 2008-01-03T15:35:05+01:00

Wishlist

Entries that need content:

Companies

adidas / Air Canada / Alamo / Allied Domecq / Amazon / American Airlines / American Express / Apple Computer, Inc. / ATA / Audi / Banana Republic / Bed, Bath And Beyond / Benetton / Berlin Transit / BMW / Bodum / British Air / Businessweek / Bythebooth.Com / Campbell’s / CBS / Cingular / CNN / Coca-Cola / Comex / Corbis / Crate And Barrel / Dairy Queen / Decorational / DHL / Dick's Sporting Goods / Dominos Pizza / Dove / Duesseldorf Airport / Dupont / Earthlink / Evian / Fedex / Ferrari / Flickr / Fogdog / Ford / Fox / FutureBrand / Gap / GE / Gerber / Haagen-Dazs / Hanes / Heidelberg Printing / Hershey Foods / Hilton / HP / Intel / International Paper / Internet Explorer / ITT Industries / Jaguar Cars / Johnson & Johnson / K-Mart / Koo De Kir / Kotex / Kraft / Lego / Lexus / Linens N' Things / Lowes / Lucent Technologies / Marriott / Master Card / Metlife / Microsoft / Motorola / MSN / National Television / Nestle / Newsweek / NFL / Nike / Nissan / Nivea / Nokia / Novartis / Old Navy / Overstock / Panasonic / Patagonia / PBS / Pepsi / Pfizer / PGA / Pizza Hut / Prego / Red Envelope / Retromodern / Sears / Skoda / Smith Barney / Song / Sony / Sports Authority / Sports Illustrated / Star Wars / Sur La Table / Table Tools / Target / Terra / The Boston Globe / The Miller Brewing Company / The New York Times / The Philadelphia Inquirer / The Washington Post / Tropicana / U.S. News & World Report / Unilever / United Airlines / United States Postal Service / UPS / USA Today / Vaseline / Verizon / Vh1 / Visa / Volkswagen / Wal-Mart / Wired / YWCA / Zone Books / Typeradio Podcast / Parks Printing Co /

Products

Alpo / Buitoni / Butterfinger / Carnation / Chips Ahoy / Dr. Pepper / Kit-Kat / Kool-Aid / Lucky Strike / Maggi / Miracle Whip / Nestea / Post-it / Power Bar / Purina / Remote Control / Ritz / Tostitos / Triscuit / Walkman / Wheat Thins / Wonka / Canada-Dry / Squirt / Los Angeles Lakers / Morton Goldshall

People / Firms

Alexander Brebner / Alexander Gelman / Alexander Isley Inc. / Andrea Fella / Andrew Blauvelt / Anna Castelli Ferrieri / Art4soul / The Bailey Goup / Barbara Glauber / Ben Shahn / Bethany Johns / Bonnie Siegler / Brian Cronin / Bruce Licher / Bureau /Marlene Mccarty / Carol Bokuniewicz / Chee Pearlman / Chris Dixon / Chris Pullman / Chris Vermaas / Chris Ware / Conor O'boyle / Crosby/Fletcher/Forbes / Cyrus Highsmith / Dave Eggers / David Carson / David Sterling / Denys Lasdun / Design Indaba / Dick Lewis / Donald Moffett / Doublespace / Doyald Young / Doyle Partners / Drenttel Doyle Partners / Drew Hodges / Droog / Emily Oberman / Emily Santoro / Fischerspooner / Flat / Frank O. Gehry & Associates / Fritz Klaetke / Gardner Design / Gary Koepke / Gerard Hadders / Giampietro+Smith / Hans-Rudolf Lutz / Hard Werken / Heavy Meta / Helene Silverman / Hella Jongerius / Henry Dreyfus / Hjalti Karlsson / Imu / Independent Project Press / J Mays / James Spindler / Jan Wilker / Jane Drew / Jane Kosstrin / Jeffrey Keedy / Jennifer Sterling / Jerry Pagane / Jill Bell / Joe Magee / John Downer / John Fulbrook / John Gall / Jonathan Hoefler / Jonathan Ive / Ken Smith / Kodalith / Kyle Cooper / Ladislav Sutnar / Landor / Les Segal / Lisa Naftolin / Lorraine Wild / Luke Hayman / M&Co. / Maira Kalman / Malcolm Garrett / Marc English / Marc Newson / Marcel Wanders / Matthew Duntemann / Maxwell Fry / Memo Productions / Mike Mills / Mirko Ilic / Morton Goldsholl / Natalie Jeremenko / Nicholas Blechman / Nick Bell / Nigel Holmes / Number Seventeen / Ogilvy & Mather / Otto Neurath / Paul Mijksenaar / Peter Behrens / Peter Hall / Petter Ringbom / Phillipe Starck / Piet Schreuders / Prologue Films / Quentin Fiore / Rachel Abrams / Rafael Esquer / Ray Johnson / Rei Kurokawa / Rene Verkaart / Richard Saul Wurman / Rick Valicenti / Rudy Vanderlans / Sam Potts / Scott Santoro / Scott Stowell / Sharon Werner / Sheila Levrant De Bretteville / Stephen Coates / Stephen Doyle / Steven Guarnaccia / Stuart Bailey / Swoon / Terrence Conran / Tibor Kalman / Tobias Frere-Jones / Todd Waterbury / Tom Bonauro / Tom Strong / Tsia Carson / Vaughan Oliver / Visual Dialogue / W.A.Dwiggins / Willi Kunz / Winterhouse Studio / Worksight / Zipatone / Zuzana Licko / Inci Mutlu / Margaret Calvert / Jock Kinneir / Paul Arthur / Tomoko Miho / Karol Tichy / Mieczysław Treter / Józef Czajkowski / Ład / Franciszek Mączyński / The Letterbox / Richard Sweeney / Takashi Okamoto / Christian Marc Schmidt / Adam Greenfield / Morteza Momayez / Mixer / Erich Brechbülh / Toko / Thomas Buxo / COUP / MACHINE / Job Wouters / Esther de Vries / Erich Brechbülh / Corita Kent / Hamid Rahmanian /

Schools / Museums / Institutions / Awards / Events

Anvil Awards / Bauhaus Universität Weimar / Brand New School / California Institute For The Arts / Cooper Hewitt National Design Museum / Hochschule Für Gestaltung Ulm / Huntergatherer / Indiana University / Loyalkaspar / PS1 / Royal Institute Of British Architects / Small Business Administration / Storefront For Art And Architecture / Walker Art Center / University of Ballarat / DiGiT / ResFest / Rochester Institute of Technology / Rotterdam Film Festival / Australian Center For Moving Image / Electrolux Design Lab Award / Typography Film Festival / Chartered Society of Designers / Association of Professional design firms / British Design Innovation / Corporate Design Foundation / Chartered Society of Designers / Design Business Association / The Design Council / Design Institute of Australia / Designers Institute of New Zealand / The Design Management Institute / Design South Africa / Graphic Artists Guild / The Society of Graphic Designers of Canada / Hong Kong Designers Association / International Council of Societies of Industrial Design / International Council of Graphic Design Associations / International Council of Societies of Industrial Design / Institute of Designers in Ireland / the voice of British advertisers / Interaction Design Group / Association of Registered Graphic Designers of Ontario /

Publications / Design Shows

Cabinet Magazine / CMYK Magazine / Colors Magazine / Communication Arts / Esopus / HOW / HOW Design Conference / McSweeney's / Metropolis / Might Magazine / Princeton Architectural Press / Print / Rolling Stone / Shift / Sports Illustrated / Creative brief / Dot Dot Dot Magazine / DeskTop Magazine / Design Graphics / Artichoke / Ar / PolOxygen / Vice / Lucky / i-D / Real Dutch Design /

Terms / Definitions / Explanations

Annual Reports / Art Director / Art / Artists / Bad Design / Brand Consultant / Broadcast Design / Certification / Color Television / Commercial Art / Counter / Creative / Design / Drawing / Editorial Art / Focus Groups / Games / Ideas / Illustration Directory / Illustration Portfolio Portals / Illustration / Illustrators / Industrial Design / Information Design / Intelligent Design / Longterm Effects In Today's Society & Industry Of Design / Media / Multimedia / Op-Art / Op-Ed / Poetry / Press / Publications / Pulp / Spot Illustration / Stat Camera / Stock Illustration / Sustainable Design / Title Design /

Movements / Theory

Modernism / Principles of Design / Situationism / Suprematism / Constructivism / Cubism / Cubo-futurism / abstract art /

Websites / Blogs

Be A Design Group / designaddict / designiskinky / GraphicDefine / Kaliber10000 / B L A N K / Australia In Front / The Visual Dictionary / The Designers Lunchbox / Graffiti Research Lab / Motionographer / Pixel Surgeon / Noise / Typographi / stock.xchng Photography / Logo Guru UK

Others

Canada / Creative Commons / Non-Profit Design / Olympics

society_for_news_design

herron_vice@75.184.122.255 — 2007-10-31T08:36:15+01:00

Society for News Design

The Society for News Design encourages high standards of journalism through design. An international forum and resource for all those interested in news design, SND works to recognize excellence and strengthen visual journalism as a profession.

The Society for News Design (formerly the Society of Newspaper Design) is an international professional organization with more than 2,600 members in the United States, Canada and more than 50 other countries. Their membership is comprised of editors, designers, graphic artists, publishers, illustrators, art directors, photographers, advertising artists, Website designers, students and faculty-membership is open to anyone with an interest in journalism and design.

History

The idea of an organization concerned with newspaper graphics and design first surfacedd during the first Newspaper and Design Seminar held in July 16-20, 1978, at the American Press Institue in Reston, VA.

Twenty-two committed individuals traveled to the Buck Hill Inn in the Pocono Mountains of Pennsylvania during two snowy days in January, 1979, to organize a group dedicated to the betterment of newspapers through design. At that meeting, a steering committee was formed to govern the group, tentative dues schedules were established, and the purpose of the group was defined.

Those in attendance were N. Chris Anderson, Jackie Combs, Richard Curtis, Richard D’Agostino, John Davidson, Roger Fidler, John Flanagan, Sara Giovanitti, Dave Gray, Robin Jareaux, Jeff Lindenmuth, Robert Lockwood, William McGrath, John Maupin, Robert Mellis, Edward Miller, Rose O’Donnell, John Raschka, Terry Redknapp, Rolf Rehe, Dale Schneck and William Tudor.

SND was incorporated in the State of Pennsylvania on May 22, 1979 as a 501©(6) non-profit trade association.

The directors at the time of incorporation were: Richard Curtis (The (Baltimore) News-American) Roger Fidler (Knight-Ridder Newspapers) Sara Giovanitti (The Boston Globe) Dave Gray (The Providence Journal) Robert Lockwood (The Allentown Call) Rolf Rehe (Indiana University Herron School of Art and Design).

The name was changed to Society of Newspaper Design in 1982 and changed again to the Society for News Design in 1997.

In 1982, the first SND logo appeared, designed by co-founder Sara Giovanitti. It remained in use until the Fall of 1998.

The concept for the new logo, introduced at the annual workshop in Philadelphia, Pa., in 1998, was done by Lynn Wylie, a student at the Newcastle College of Art & Design (UK) at the time. Chosen out of scores of entries in an international competition, the final versions appropriate for print, web and other uses was finished by corporate designer Joe Finocchiaro.

The Society established its headquarters at The Newspaper Center in Reston, Va., in June, 1982, and hired its first full-time staff member that year. It moved to Providence, R.I. in July of 1996 and to North Kingstown, R.I. in 2002. It currently has three full-time employees: Executive Director (VACANT); Membership Assistant Susan Santoro and General Assistant Sandra Morera.

Past Presidents

1979–1980 Robert Lockwood, Art Director The Morning Call, Allentown, Pa.

1980–1981 and 1981–1982 Phil Ritzenberg, Publisher Jewish Weekly, New York City, N.Y.

1982–1983 Richard Curtis, ME/Graphics and Photography USA Today

1983–1984 Rob Austin, Associate Managing Editor The Hamilton Spectator, Ontario, Canada

1984–1985 Marty Petty, Managing Editor The Harford Courant, Conn.

1985–1986 Phil Nesbitt, Graphics Director The Record, Bergen, N.J.

1986–1987 Maggie Balough, Assistant Managing Editor Austin American-Statesman, Texas

1988 Tony Majeri, Art Director The Chicago Tribune, Ill.

1989 Rob Covey, Art Director U.S. News & World Report, Washington, D.C.

1990 Nanette Bisher, Assistant Art Director U.S. News & World Report, Washington, D.C.

1991 Jacqueline A. Combs, Assistant Graphics Editor The Chicago Tribune, Ill.

1992 C. Randy Stano, Director of Editorial Art & Design The Miami Hearld, Fla.

1993 Nancy Tobin, President Tobin Paperworks, Buffalo, N.Y.

1994 George Benge, Executive Editor The Phoenix, Muskogee, Okla.

1995 Deborah Withey, Design Consultant Knight-Ridder Newspapers

1996 Jim Jennings, Design Consultant Lexington, Ky.

1997 Neal Pattison, AME Seattle Post-Intelligencer, Wash.

1998 Lynn Staley, Design Director Newsweek, New York City, N.Y.

1999 Ed Kohorst, Design Editor The Dallas Morning News, Texas

2000 Jean Dodd, Senior Artist Kansas City Star, Mo.

2001 Lucie Lacava, President/Design Consultant Lucie Lacava Publication Design Inc., Montréal, QC

2002 Svenåke Boström, Quality Assurance Manager Sundsvalls Tidning, Sundsvall, Sweden

2003 Warren Watson, V.P. for Communications & Extended Learning American Press Institute, Reston, Va.

2005 Susan Curtis Mango, Assistant Professor, Medill School of Journalism Northwestern University

2005 William Gaspard

Link

Society for News Design

fred_smeijers

thomasf@84.197.52.52 — 2007-10-22T02:16:33+01:00

Fred Smeijers

Official Bio

[Source: ourtype.com]

Fred Smeijers is a type designer, writer and educator. He specializes in typographic research and development for product manufacturers. Among his typeface designs are FF Quadraat and FF Quadraat Sans, TEFF Renard, DTL Nobel and OurType Arnhem, OT Fresco and OT Sansa.

Born in the Netherlands, Smeijers studied graphic design at the Academy of Art in Arnhem. His first practice came in the mid-1980s with the firm of Océ, just then entering the field of typography with laser printers. This set the pattern for Smeijers’s long engagement with type design in its most functional applications, as part of product design. In 1985 Smeijers c0-founded the group Quadraat (in Arnhem). The name of the design group was also given to his first published typeface: FF Quadraat, launched in 1992. His work of the 1990s included the expansion of the Quadraat family, type and lettering projects for Philips, collaboration on Martin Majoor’s Telefont type design, typefaces such as TEFF Renard and Romanée, and his first book for Hyphen Press – Counterpunch. His corporate type family for Canon-Europe was released in 2000.

With the award of the Gerrit Noordzij Prize (2000), Smeijers’s achievements in the field of practice, research and education were formally recognized. This prize included a retrospective exhibition of his work, held in The Hague in 2003 and in London in 2004. His second book Type now was also published in 2003, as a further part of the GNP award.

In 2004 Smeijers was appointed Professor of Digital Typography at the Hochschule für Grafik und Buchkunst, Leipzig. Next to that, he is lecturing internationally and a guest lecturer at the Type and Media, a MA in Type Design at the Royal Academy of Art, The Hague.

Fred is the Creative Director of OurType - an independent type publishing label he co-founded in 2002.

Sample work

OurType TEFF Renard FF Quadraat Philips Canon-Europe

Links

Hyphen Press FontShop

Books

Type Now: A Manifesto by Fred Smeijers, edited by Robin Kinross Counterpunch by Fred Smeijers, edited by Robin Kinross

ourtype

thomasf@84.197.52.52 — 2007-10-21T10:33:42+01:00

OurType

About

[Source: ourtype.com]

OurType is an independent type foundry founded in 2002. OurType develops and retails premium typefaces, that respect traditional values yet tailored to contemporary needs.

OurType is run by three partners: Fred Smeijers, Corina Cotorobai and Rudy Geeraerts.

The core products of OurType are fonts designed by Fred Smeijers. Well known for his FF Quadraat (1992) and TEFF Renard (1998), by now Smeijers has a whole range of distinctive typefaces to his credit – Arnhem, Fresco, Sansa, Monitor and Custodia. Peter Verheul, another proven Dutch type designer, joined OurType collection with Versa font family in 2004.

Apart from renowned type designers like Smeijers and Verheul, OurType publishes fonts from some of the best young designers: Amalia of Nikola Djurek, NeueSans of André Leonardt, Eva of Merel Matzinger and Parry of Artur Schmal. OurType’s work has been featured in various design publications worldwide, among them Création Numérique, Druk, Étapes, Identity Matters, I.D. Magazine, Page, Print Magazine, Publish and Typografica.

Clients include Boston Globe, Collins, Gyldendal, Hyphen Press, Het Financieel Dagblad, Le Monde Diplomatique, Lloyds, National Geographic, Sanoma Magazines and Van Dale among many others.

Links

OurType – Official site

Books

Typosphere: New Fonts to Make You Think by Marta Serrats, Pilar Cano FontBook Thinking with Type by Ellen Lupton

jennifer_sterling

carolinade@66.245.0.54 — 2007-09-21T21:30:47+01:00

Jennifer Sterling

Jennifer Sterling is a graphic designer based in San Francisco whose delicate yet bold work is a synthesis of classical typefaces in unusual compositions and combinations with images and organic shapes. Having produced a wide range of work including packaging, book design, corporate literature, identity and film titles, her designs are in the permanent collections of the San Francisco Museum of Modern Art, the Cooper-Hewitt National Design Museum and the Library of Congress.

In 1999, she took part in an I.D. magazine competition to redesign the US 20-dollar bill. Her interesting redesign incorporated excerpts from the Declaration of Independence and the Constitution to “move away from the cult of presidents and move toward a cult of texts.”

tibor_kalman

carolinade@66.245.0.54 — 2007-09-21T21:29:50+01:00

Tibor Kalman

Born in Budapest, Hungary, Tibor Kalman emigrated to the US at age 7. He was raised in upstate New York, interviewed Timothy Leary for his high school newspaper, and left New York University for Cuba in 1970 to cut sugarcane in the Ten Million Ton Harvest. Kalman was educated in journalism. While working in New York as a clerk for Barnes & Noble, he arranged a window display one afternoon when the designer called in sick. His success and interest in the project eventually made him director of design for the bookseller, and led to the founding of M&Co., his own design agency, in 1979.

Beginning in 1990, Kalman was creative director of Interview [a magazine founded by Andy Warhol] and later became editor and art director of Colors, the magazine sponsored by Benetton, which became known for using provocative multicultural images to sell clothing. Kalman’s work [and, at times, his unruly behavior and abrasive commentary] has been both criticized and praised for its sexiness, obscenity and sensationalism.

Kalman’s philosophy could be described as “position first, style second.” He once said, “My quandary was that designers have been taught to be liars. They have been taught to use their skill—just like lawyers and accountants—to distort information. I was not against anyone personally, I just had all these questions about what we were doing.” Throughout his work, Kalman has successfully engaged his audience by exposing the process in which sexual, violent and multicultural images are used in design to sell products and promote social conformity.

Links

Perverse Optimist

neville_brody

carolinade@66.245.0.54 — 2007-09-21T21:22:01+01:00

Neville Brody

British Art Director/Designer Neville Brody was born April 23, 1957 in London. He was the creator of the interactive type magazine FUSE, designed many album covers for Fetish Records, and Art Editor for The Face magazine. Brody is currently working under Research Studios launched in London in 1994 by himself and Fwa Richards. The studio has since opened offices in San Francisco, Berlin, and New York.

Brody is one of the best known graphic designers of his generation. His book, The Graphic Language of Neville Brody, originally published in 1988 and at one time the best-selling graphic design book of all time with 125,000 copies sold, is a considered a bible in the world of graphic design, as well as the seminal expression of his early, ground-breaking typography.

Brody first made his way into the public eye through his record cover designs and his involvement in the British independent music scene in the early 1980s.

But it was his work on magazines that firmly established his reputation as one of the world’s leading graphic designers. In particular, his artistic contribution to The Face revolutionized the way in which designers and readers approached the medium. His unique designs soon became much-imitated models for magazines, advertising and consumer-oriented graphics. In fact, so infrequently has any one designer’s work been so widely imitated and absorbed into design practice that we have a tendency to look back at Brody’s innovations and see them as ordinary. But, in the 1980s, his work was radically new. In one example, Neville Brody reused a piece of his own layout from a prior issue’s feature on Madonna for an article on Andy Warhol, paraphrasing Warhol’s reuse of existing forms.

Brody won much public acclaim through his highly innovative ideas on incorporating and combining typefaces into design and he later took this a step further and began designing his own typefaces, thus opening the way for the advent of digital type design. As a newly-minted graduate of the London College of Printing, Brody had irreverently asserted that he hated type. However, as art director of the above-mentioned magazines, he designed several custom typefaces that were later released to the public including Arcadia, Industria, Insignia, Blur, Pop, Gothic and Harlem. His contributions to the world of graphic design and digital typography are invaluable. Often referred to as a “star typographer,” Brody has designed a number of well-known typefaces.

Books

The Graphic Language of Neville Brody by Jon Wozencroft 100 Years of Magazine Covers by Neville Brody

wolfgang_weingart - NEW

carolinade@66.245.0.54 — 2007-09-21T21:05:30+01:00

Wolfgang Weingart

New Wave typography was German designer Wolfgang Weingart’s approach to typography that broke with the rigidity of the International Style. Trained in Swiss design under Emil Ruder, Weingart breathed new life into his pages by using more expressive elements, textures [often these were enlarged halftone dots and the moire patterns they produced], diagonals, stair-step rules, wide letterspacing [which had gone out of fashion] and underlined text. He used reversed out type and changes in weight within text blocks for greater variety and visual interest. An example of how postmodern work is not all a grand departure from modernism [even modernism is contained within the “anything goes” of Postmodernism], Weingart’s page layouts make reference International Style yet they have a more human, playful quality than the classic work of that movement.

Weingart’s book, My Way to Typography, was published in 2001 and Weingart went on an international book tour that year.

In 1968, Weingart joined the faculty of the Basel School of Design. The following is an excerpt from an article Weingart wrote about his teaching methods:

“When I began teaching in 1968, classical, so-called ‘Swiss typography’ was still commonly practiced by designers throughout Switzerland and at our school. Its conservative design dogma and strict limitations stifled my playful, inquisitive, experimental temperament and I reacted strongly against it. Yet at the same time I recognized too many good qualities in Swiss typography to renounce it altogether. Through my teaching I set out to use the positive qualities of Swiss typography as a base from which to pursue radically new typographic frontiers.

“I try to teach students to view typography from all angles: type must not always be set flush left/ragged right, nor in only two type sizes, nor in necessarily right-angle arrangements, nor printed in either black or red. Typography must not be dry, tightly ordered or rigid. Type may be set center axis, ragged left/ragged right, perhaps sometimes in chaos. But even then, typography should have a hidden structure and visual order.”

postmodernism

carolinade@66.245.0.54 — 2007-09-21T20:59:25+01:00

Postmodernism

[Editors’ Note: Because Postmodernism is defined and understood differently by different people this entry should try to explore all possible definitions and create a well-rounded group of thoughts on Postmodernism, rather than a single, debatable definition]

Postmodernism, or more accurately The Postmodern, was (is) a period of art / culture / theory starting at some point after the 1950s and extending until today, or ending in 1989 or at some point in-between. If that seems unreasonably vague that is because The Postmodern was not a traditional movement. The defining characteristic of any “ism” is a set of core beliefs and axioms from which a greater movement is built and expressed. While The Postmodern had a set of shared themes and philosophies there was no unifying ground work to build on. Because of this it is difficult for Postmodernism to make a positive statement. It is skilled at critique and tearing down but not at building up meaning. Because of this, the major defining factors of The Postmodern is style and technique not meaning.

It’s important to note that the existence of a new movement in the visual arts is typically confirmed when works of architecture are labeled as belonging to that movement. Architect Robert Venturi’s buildings and interiors were the first to be called “postmodern.” His 1972 manifesto of postmodern architecture, Learning from Las Vegas, proclaimed, “Less is a bore,” to the modernist dictum, “Less is more.”

A simple way to think of The Postmodern is as a movement against modernism (and, therefore the enlightenment.) Where Modernism believed in the universal spirit of man, The Postmodern sees that as diversity destroying, non-pluralistic, overly-rational, and dangerous. While Modernism believed in purity and truth and rational thinking, The Postmodern saw all things as being skewed by the economic-cultural-historical-gendered perspective of all readers and writers. Modernism:Symbols as metaphors for deeper truths::Postmodernism:Symbols as stylistic devices that have no deeper truth (because there is no deeper truth.)

The Postmodern critique of Modernism came from several quarters: Marxism, Feminism, Structuralism / Post-structuralism, and Semiotics among others.

The visual style of The Postmodern is characterized by its obsession with style (as oppose to meaning.) With visual appearance preeminent, meaning is erased and all imagery becomes fair game and intermixable. The two most common modes of communication where parody and pastiche leading to a culture of irony.

Some themes found in work from The Postmodern: Identity politics, the gaze, money as the mediator of all relationships, panopticism, hyper reality, and in general power, who has it and what structures create it.

Books

No More Rules: Graphic Design and Postmodernism by Rick Poynor New Design Los Angeles: The Edge of Graphic Design by Edward Gomez Design Discourse: History, Theory, Criticism by Victor Margolin

erik_spiekermann

carolinade@66.245.0.54 — 2007-09-21T20:38:15+01:00

Erik Spiekermann

Official Bio

[Source: spiekermann.com]

Born on May 30, 1947. Information architect, type designer (ff Meta, itc Officina, ff Info, ff Unit, LoType, Berliner Grotesk et al) and author of books and articles on type and typography. He studied history of art in Berlin, though unsuccessfully, financing his studies by running a basement printing company. He then moved with wife (Joan) and child to London where he worked as a consultant to some big design companies as well as lecturing at various establishments including the London College of Printing. With Florian Fischer and Dieter Heil he founded MetaDesign (1979). The two partners left in 1983, and in 1990 two new partners joined, Uli Mayer and Hannes Krüger. The company name was changed to MetaDesign Plus and subsequently it grew to become 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, Berlin Transit, Duesseldorf Airport and many others.

In 1988 he started FontShop, a company for production and distribution of electronic fonts. He holds an honorary professorship at the Academy of Arts in Bremen, is board member of ATypI and the German Design Council, and Past President of the International Society of Typographic Designers. In april 2006, Art Center College of Design in Pasadena awarded him an honorary doctorate for his achievements.

In July 2000, Erik withdrew from the management of MetaDesign Berlin. In 2001 he redesigned The Economist magazine in London. His book for Adobe Press, Stop Stealing Sheep, has recently appeared in a second edition. A corporate font family for Nokia was released in 2002. In 2006, he received the German National Design Prize for the family of typefaces he designed (with Christian Schwartz) for Deutsche Bahn (German railways).

Other than that, he doesn’t remember how many prizes he’s won and certainly has no display of awards or medals in the office. The reason isn’t so much modesty but a chaotic archive. He does not have any work in any museums and would actually not expect his work there, as he solves problems for clients instead of making art for posterity. The signage systems Erik and his colleagues have designed over the past 20 years serve as a more effective gallery of work.

He is the co-author (along with E.M Ginger) of Stop Stealing Sheep & Find Out How Type Works, one of the most entertaining and popular books among graphic designers, type designers and typographers, which overtook Neville Brody’s record for bestselling graphic design book of all time, having sold over 150,000 copies. He has been one of the editors of the FontBook since 1991 and co-editor (with Jan Middendorp) of Made With FontFonts, a book about 15 years of work from the FontFont library, which was published at the end of 2006.

Erik splits his time between his homes in Berlin, London and San Francisco. His new company, Spiekermann Partners, has offices in those three cities.

Sample work

Linotype Officina Sans/Serif FF Meta was designed in the early 1990s by Erik Spiekermann and named after his studio MetaDesign. FF Meta

Links

Erik Spiekermann personal blog United Designers Network FontShop FontFont (Founded in 1989 with Neville Brody, and Joan Spiekermann)

Books

Stop Stealing Sheep & Find Out How Type Works by Erik Spiekermann, E.M. Ginger FontBook [Digital Typeface Compendium] by Erik Spiekermann (Editor), Jürgen Siebert (Editor), Mai Linh Thi Truong (Editor)

emigre

carolinade@66.245.0.54 — 2007-09-21T20:32:57+01:00

Emigre

Official Description

[Source: emigre.com]

Started by Zuzana Licko and Rudy VanderLans.

Emigre, Inc. is a digital type foundry, publisher and distributor of graphic design related software and printed materials based in Northern California. Founded in 1984, coinciding with the birth of the Macintosh, Emigre was one of the first independent type foundries to establish itself centered on personal computer technology. Emigre holds exclusive license to over 300 original typeface designs created by a roster of contemporary designers. Emigre’s full line of typefaces, ornaments and illustrations is available in Type 1 PostScript and TrueType for both the Macintosh and PC.

Emigre’s designs have won numerous awards; Emigre is the 1994 recipient of the prestigious Chrysler Award for Innovation in Design and the 1996 Publish Magazine Impact Award. Emigre is also the 1997 recipient of the AIGA Gold Medal Award and the 1998 Charles Nyples Award.

Emigre history

In 1984, Dutch designer Rudy VanderLans began to publish a low-budget experimental design magazine out of his Berkeley, California studio. The first issue of Émigré magazine was produced with typewriter type, but from the second issue onward, Émigré used digital type and digital technology. The magazine was quite controversial at first—the aesthetic of digital type was outrageous to traditional modernist designers like Massimo Vignelli who publicly declared it “garbage.” Despite its early detractors, Émigré has now achieved wide acceptance—even Vignelli retracted his position. The magazine goes down in history as the publication that began to define the possibilities of digital technology for graphic design.

In 1984, VanderLans’s wife, Zuzana Licko, began using the computer to design coarse bitmapped typefaces to accommodate low-resolution printer output of the magazine. After readers inquired about their availability, she sold them to the public as well. Today Licko is one of the profession’s premier type designers. Moving away from bitmapped and decorative faces, some of her most successful recent designs are revivals. For example, Mrs Eaves is a revival of Baskerville and Filosofia is a revival of Bodoni.

Émigré magazine is no longer in publication, however, the Émigré type foundry is a great resource for both unusual, experimental typefaces as well as legible text types.

Link

emigre

logolounge

ty_wilkins@68.103.185.43 — 2007-09-09T18:03:35+01:00

LogoLounge

LogoLounge is both a website and a book series where members have access to a database of over 65,000 logos to search by keyword, designer, client, industry or time frame. Members have the opportunity to upload their own logos to the LogoLounge website and be considered for publication in the acclaimed best-selling LogoLounge books series published by Rockport Publishers.

LogoLounge Website

LogoLounge is the ultimate resource for logo and identity designers on the web. You’ll find thousands of logos for study and inspiration, designs from leading agencies as well as from talented up-and-comers. Research established directions, then discover exciting new paths for your own work. At LogoLounge, you’ll find out who’s designing what for whom. You can keep pace with trends and even better, prove that you’re one of the trendsetters: Submit your own work and become a vital part of the ongoing discussion. You can even use the site to mark your designs’ date of creation.

In addition to the site’s extensive research capabilities, you can:

• Check out what top identity designers are thinking about, struggling with, and working on in Featured Designer. • Know about trends the moment they take shape. • Get a completely overhauled perspective when well-known designers take over the keyboard in Guest Editorial.

Logo Searching

At LogoLounge.com you will find thousands of strong and thought-provoking logo designs, thoroughly cross referenced and available for your study in seconds. As a LogoLounge member you can search the extensive database by keyword, designer, client, industry or time frame.

Membership

LogoLounge allows designers to easily share their ideas and concepts with peers and clients anywhere. As a member of LogoLounge, you can quickly search through thousands of logos created by designers and firms known and unknown, as well as upload your own logos. The logos are categorized to make your search for a logo or concept a snap.

Become a member of LogoLounge for a $100.00 annual fee, and your membership will provide:

• Unlimited uploads of your logos with your membership. • Consideration for publication in “The Best of LogoLounge 5,” published by Rockport Publishers. • The opportunity to be part of a vital new community of logo and identity designers

To become a member of LogoLounge go to: LogoLounge Sign up

Link

LogoLounge

Books

LogoLounge: 2,000 International Identities by Leading Designers by Bill Gardner, Catharine Fishel LogoLounge 2: 2,000 International Identities by Leading Designers by Bill Gardener, Catharine Fishel LogoLounge 3: 2,000 International Identities by Leading Designers by Bill Gardner, Catharine Fishel

frank_o._gehry_associates - NEW

alison@71.79.52.89 — 2007-09-06T10:51:29+01:00

Frank O. Gehry & Associates

[Source: foga.com]

Frank Gehry established his practice in Los Angeles, California in 1962. The Gehry partnership, Gehry Partners, LLP, was formed in 2002 and currently supports a staff of over 175 people. Gehry Partners employs a large number of senior architects who have extensive experience in the technical development of building systems and construction documents, and who are highly qualified in the management of complex projects.

Every project undertaken by Gehry Partners is designed personally and directly by Frank Gehry. All of the resources of the firm and the extensive experience of the firm’s partners are available to assist in the design effort and to carry this effort forward through technical development and construction administration. The firm relies on the use of Digital Project, a sophisticated 3D computer modeling program originally created for use by the aerospace industry, to thoroughly document designs and to rationalize the bidding, fabrication, and construction processes.

Gehry’s architectural language is based on the development of sculptural forms and on the use of unique materials, including more industrial materials such as corrugated metal and plywood as well as more refined materials including titanium and curved glass. Although certainly complex in form, function is the true foundation of Gehry’s architectural language.

Partners

The partners in Gehry Partners, LLP are: Frank Gehry, Brian Aamoth, Terry Bell, John Bowers, Edwin Chan, Berta Gehry, Marc Salette, Tensho Takemori, Laurence Tighe and Craig Webb.

Architectural Works

Vitra Design Museum, Vitra premises, Weil am Rhein, Germany (1989) Frederick Weisman Museum of Art, University of Minnesota, Minneapolis, Minnesota, USA (1993) Guggenheim Museum Bilbao, Bilbao, Spain (1997) Experience Music Project, Seattle, Washington, USA (2000) Walt Disney Concert Hall, Los Angeles, California, USA (2003)

Links

Gehry Partners

university_of_cincinnati_s

alison@71.79.52.89 — 2007-09-06T10:38:25+01:00

University of Cincinnati — DAAP

UC is distinguished as the birthplace of co-operative education. The program generally consists of alternating periods of coursework on campus and outside work. This gives students up to two years of relevant work experience by the time they graduate.

The university has commissioned several “signature architects” to design new architecture for the school. These architects include Michael Graves (UC alumni), Peter Eisenman, Frank O. Gehry, Morphosis, Henery Cobb, and Moore Ruble Yudel.

DAAP

The College of Design, Art, Architecture, and Planning (commonly refered to as DAAP) combines the four areas into one school. Students in Design, Architecture, and Planning schools must complete 6 quarters of co-op to graduate. Robert Probst, AGI member, is the school’s current interum dean.

School of Design

The School of Design has major degrees in Graphic Design, Digital Design, Industrial Design, and Fashion Design.

UC is one of the first American public schools to build a program devoted to graphic design. Developed by Gordon Salchow, who had previously taught at the Kansas City Art Institute and was a protege of Rob Roy Kelly.

The industrial design, transportation track is second in the nation. While the industrial design program recieves top ranks as well.

School of Architecture and Interior Design

The School of Architecture and Interior Design’s (SAID) interior design and architecture majors parellel each other in the freshmen year as well as in several elective courses. Both of these programs repeatedly rank in the top three in the nation. Architecture is a 4+2 program where the student is working toward the undergraduate degree in 4 years. At the end of the 4 years, the top half of the class goes on to the gradute program that is of 2 years and a co-op.

The identity

current sports logo designed by Libby Perszyk Kathman old sports logo designed by Libby Perszyk Kathman (LPK) current university logo also designed by Libby Perszyk Kathman (LPK) old university logo designed by Professor Joe Bottoni

Links

DAAP website

massimo_vignelli

alison@71.79.52.89 — 2007-09-06T10:12:56+01:00

Massimo Vignelli

[Source: Design Within Reach]

Massimo Vignelli studied architecture at the Politecnico di Milano from 1950 to 1953 and later trained at the Universita di Architetttura, Venice. His first professional position was as a designer of glassware for Venini, and from 1958 to 1960 he taught design at the Institute of Design, Chicago, while his wife, Lella Vignelli worked for architects, Skidmore, Owings and Merrill. In 1960, the couple returned to Milan and founded the Lella and Massimo Vignelli Office for Design and Architecture. Four years later, Massimo began creating graphics for the Container Corporation of America, and designed its new logo. In 1965, with Bob Noorda and Jay Doblin he founded Unimark International, a design consultancy originally based in Milan. The Vignellis, however, soon moved to America and in 1966 Unimark established a New York office, specializing in corporate identity.

In 1971, Vignelli Associates was established in New York and subsequently designed corporate identity programs for Knoll, American Airlines, Bloomingdales, Xerox, Lancia, Cinzano, and Ford Motors. The company also designed glassware for Venini, Steuben and Sasaki, and showrooms for Artemide and Hauserman. Vignelli also turned his attention to designing furniture for Sunar, Rosenthal, Morphos and Knoll, including the well-known Handkerchief Chair and Paper Clip table for Knoll. The Vignelli’s are extremely versatile designers whose work is distinguished by clean, bold lines and a confident use of pure color. There is little that they have not conceived and executed, including directional signage for the New York and Washington, D.C. subway systems and for the Guggenheim Bilbao, Museum in Bilbao, Spain designed by architect Frank O. Gehry.

Exhibitions

Their work has been exhibited at the MoMA, the Metropolitan Museum of Art, and the Cooper-Hewitt Museum in New York, the Musée des Arts Décoratifs in Montreal; and the Die Neue Sammlung in Munich. Their work has been the subject of two television documentaries and an exhibition that travelled throughout Europe between 1989 and 1993, including St. Petersburg, Moscow, Helsinki, London, Budapest, Barcelona, Copenhagen, Munich, Prague and Paris.

Awards

1964 - Gran Premio Triennale di Milano. 1964 - 1998 Compasso d’Oro, from (ADI), Italian Association for Industrial Design. 1973 - Industrial Arts Medal of the American Institute of Architects (AIA). 1982 - New York Art Directors Club Hall of Fame. 1982 - Honorary Doctorate in Fine Arts from Parsons School of Design, New York. 1983 - AIGA Gold Medal. 1985 - first Presidential Design Award, presented by President Ronald Reagan, for the National Park Service Publications Program. 1987 - Honorary Doctorate in Fine Arts from Pratt Institute, Brooklyn, New York. 1988 - Interior Design Hall of Fame. 1988 - Honorary Doctorate in Fine Arts from Rhode Island School of Design, Providence, Rhode Island. 1991 - National Arts Club Gold Medal for Design. 1992 - Interior Product Designers Fellowship of Excellence. 1993 - New York State Governor’s Award for Excellence. 1994 - Honorary Doctorate in Architecture from the University of Venice, Italy. 1994 - Honorary Doctorate in Fine Arts from Corcoran School of Art, Washington D.C. 1995 - Brooklyn Museum Design Award for Lifetime Achievement. 1996 - Honorary Royal Designer for Industry Award, Royal Society of Arts, London. 2000 - Honorary Doctorate in Fine Arts from Art Center College of Design, Pasadena, California. 2002 - Honorary Doctorate in Fine Arts from Rochester Institute of Technology, Rochester, New York. 2003 - National Lifetime Achievement Award from the National Museum of Design at Cooper-Hewitt, New York. 2004 - Visionary Award from the Museum of Art and Design, New York. 2005 - Architecture Award from the American Academy of Arts and Letters, New York.

Links

Vignelli Associates

twa_terminal - NEW

alison@129.137.175.154 — 2007-08-30T11:29:54+01:00

TWA Terminal

The TWA Terminal was designed by Eero Saarinen and completed in 1962 for the airline TWA at the New York City’s Idlewild Airport (later renamed John F. Kennedy International Airport.)

The building’s undulating shape was meant to evoke the excitement of high speed flight. Its curvilinear forms were used inside and out—and even the terminal’s smallest interior details, lounges, chairs, signs, and telephone booths were designed to harmonize with the curving “gull winged” shell so often depicted as an emblem of the modern 1960s. When opened, the TWA Terminal was heralded as a remarkable design achievement, and 40 years later it continues to be cited by the national and international architectural community for its importance in the modern design movement. The terminal building, which is largely intact, is a designated New York City landmark, a designated City interior landmark, and is eligible for listing on the State and National Registers of Historic Places.

‘...a building in which the architecture itself would express the drama and specialness and excitement of travel... a place of movement and transition... The shapes were deliberately chosen in order to emphasize an upward-soaring quality of line. We wanted an uplift.’ -Eero Saarinen

Saarinen died in 1961, a year before the building was completed.

Photos

Links

Galinsky:TWA Terminal New York City Architecture Photos of TWA Terminal PReservation League of NYC

The Design Encyclopedia

aiga

AIGA

Official Description

Link

Related Links

esdi

ESDI

Escola Superior de Desenho Industrial

Link

playground

The Playground

Testing… 1, 2… Testing

memefest

Memefest

Link

Related Links

wishlist

Wishlist

Companies

Products

People / Firms

Schools / Museums / Institutions / Awards / Events

Publications / Design Shows

Terms / Definitions / Explanations

Movements / Theory

Websites / Blogs

Others

society_for_news_design

Society for News Design

History

Past Presidents

Link

fred_smeijers

Fred Smeijers

Official Bio

Sample work

Links

Related Links

Books

ourtype

OurType

About

Links

Related Links

Books

jennifer_sterling

Jennifer Sterling

tibor_kalman

Tibor Kalman

neville_brody

Neville Brody

Books

wolfgang_weingart - NEW

Wolfgang Weingart

postmodernism

Postmodernism

Books

erik_spiekermann

Erik Spiekermann

Official Bio

Sample work

Links

Related Links

Books

emigre

Emigre

Official Description

Link

logolounge

LogoLounge

LogoLounge Website

Logo Searching

Membership

Link

Books

frank_o._gehry_associates - NEW

Frank O. Gehry & Associates

Partners

Architectural Works