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Michael Bierut from DesignObserver.
About a month ago, I turned on the Public Radio International program Studio 360 and was pleased to hear the unmistakable Bronx accent of legendary adman George Lois, who was host Kurt Andersen's guest that morning. The talk inevitably turned to Lois's covers for Esquire in the sixties, the high point of his career and probably one of the high points in 20th century American graphic design, period. Why, wondered Andersen, didn't anybody do covers like these any more? "They're all infatuated with the idea that celebrity, pure celebrity, sells magazines," growled Lois.
Exactly one week later, I served as a judge for the annual competition of the Society of Publication Designers. Walking down table after table groaning under the weight of glossy maga
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Michael Bierut from designObserver.
It's a strange, even ugly, color combination. Solid maroon with lemon yellow type: it looks like PMS 194 and PMS 116. One of the most generic typefaces in the world, Times Roman, set in all capitals, two slightly different sizes, with no particular finesse. The back looks just like the front. Nothing else.
Yet, using nothing more than these peculiar - dare I say crumby? - ingredients, the cover of the old Bantam paperback edition of The Catcher in the Rye has the power to move me like few other pieces of graphic design.
I can still remember the first time I saw it. It was in the "Young Adult" section of my local library, on a rotatable wire rack. I must have been in the seventh grade. The other books on the rack - It's Like This, Cat; The
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Michael Bierut from designObserver.
Imagining what the future will look like is never easy. Does anything go out of date faster than someone's idea of what décor, fashion and hairstyles will look like ten, one hundred, or a thousand years from now? But there was one artist who got it perfectly right: Stanley Kubrick.
Inspired by Jessica Helfand's recent post here on the peculiar graphics of the Apollo space program, and intrigued by an article on Kubrick's archives in the Guardian, I went back and watched 2001: A Space Odyssey. From the moment the prehistoric bone-as-weapon turns into the floating spacecraft (the best jump cut in the history of cinema), you know immediately you're in the hands of a master. And 35 years later (plus three years past due), it all looks better than
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Rick Poynor from designObserver.
The April issue of Creative Review magazine features an intriguing article by Adrian Shaughnessy, founder of the Intro design group in London, and the man behind the Sampler series of surveys of music graphics. In "From Here to Here" (the title only makes sense if you can see the images that go with it) he argues that the once homogeneous field of graphic design has "begun to separate into two distinct strands". On one side there is professional practice in all its forms; on the other a field which he terms "design-culture graphics". This territory is inhabited by designers doing their own, often self-initiated thing: publishing books and magazines, starting websites, and designing and selling T-shirts, posters, DVDs, and other graphic doodads. "Stylist
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Sponsored by the Enid Linder Foundation
The V&A is the world 's leading museum of art and design, and the V&A Illustration Awards, sponsored by the Enid Linder Foundation, are the premier awards for book and editorial illustration in the UK. Previous award winners include Quentin Blake, Michael Foreman, Ian Pollock, Ralph Steadman and Posy Simmonds.
The Awards
There are six awards for 2004, including for the first time this year, a new prize for book covers.
A First and Second Prize winner will be chosen from the three following award categories:
-Book Illustration
-Book Cover & Jacket Illustration
-Editorial Illustration
Of the three category winners, one will be selected to receive the Premier Award of £2,500 as the best overall illustration. The other two winners will each re
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