Research Point

The history of typography, printing and reading are all linked; what else can you find out about this history that you find interesting? Perhaps you are interested in a particular era, form of typography or particular area of reading. It might be a wide subject such as the history of the alphabet, or something very specific such as the use of typography in Film Noir, comics or American crime novels.

Undertake some secondary research to find out more, taking notes along the way and collecting examples for your visual diary.

Current research

I am strangely drawn to typography from its utilitarian usage to clever typographic logos to layouts both grid based and those that break the grid. I have a few books on typography and I am interested in the intricacies of type design and layout. My current bedsides reading is a book called “Stop Stealing Sheep & find out how type works” by Erik Spiekermann & E.M. Ginger. The great type designer Frederic Goudy once said that “anyone who would letterspace blackletter would steal sheep.” Blackletter, in typography, are the “Old English” type of faces you see used for newspaper names, and letterspacing is just stretching the word out so that there are gaps in between the letters. Evidently Goudy thought that this practice was a typographic abomination. The book covers everything from type design, layout, history and how type is everywhere in our day–to–day lives.

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“Type & typography” by Phil Baines and Andrew Haslem  is on the course reading list and I have briefly looked at this. I have also read “typographic design: form and communication” by Rob Carter, Sandra Maxa, Mark Sanders, Philip B. Meggs and Ben Day which is a great book for typography and layout beginning with the earliest marks made by early man in 3150BC through the invention of the printing press to the present day.

I already have a typography board on Pinterest as well as a logo board that contains lots of typographical logos. I also follow several typographers and letterers on Instagram.

Screenshot 2019-05-02 at 20.40.32Screenshot 2019-05-02 at 20.41.36

My personal preferences in regards to typography are quite varied. They range from classic typographers like Josef Müller–Brockmann, Max Miedinger and Paul Renner to current designers like Chris Ashworth and Jessica Hische.

Image result for josef muller brockmann
Strawinsky/Fortner/Berg by Josef Müller–Brockmann (1955)
Image result for chris ashworth design
Raygun Magazine cover by Chris Ashworth (1996)
Jessica Hische via www.mr-cup.com
Jessica Hische via www.mr-cup.com
Penguin Drop Caps by Jessica Hische (2012)

 

Abstract cities

Create a series of 10 abstract designs in which you balance blocks of subordinate, dominant and accent colours. These designs are going to be used as covers for guidebooks to the following cities:

  • Madrid
  • Malmo
  • Managua
  • Manchester
  • Manhattan
  • Marrakech
  • Marseilles
  • Melbourne
  • Montreal
  • Mumbai

The books are going to be A5 landscape (210mm x148mm) size. You can use as many colours as you like and need to include the name of the city – where you place this and its colour are also important decisions to make. You may want to find out more about each city to help you develop your colour palette and also the size, shape and positioning of the colour blocks.

Explore your DTP packages further by creating the artwork in the different software packages you have to experiment with the possibilities and ease of use. You can also do this exercise on paper using coloured blocks that you can cut and move about.

Make notes in your learning log as you research and create your designs.

Brief AnalysisResearch

I have been to a couple of the cities on the list:

Manhattan – People think Manhattan is grey and boring but far from it. It’s full of hustle and bustle and colour round every corner. I have lots of photos from my visit, hopefully I can use some of them.

These are a selection of my own photographs taken on a trip to New York

Marrakech – This city is nuts! Everything is done at a break–neck speed. You step out of the serene calm of your riad and straight into the mayhem. The souks are full of every colour you can imagine and you could easily get lost in there. Hopefully I can integrate some of this into the design.

The other 8 cities are a mystery and will require some research into landmarks and colours in each of these.

I started by researching the cities and then curating a Pinterest board of images of them that I thought would translate into abstract images. Some were easier and more successful than others.

Madrid – Madrid may lack the cachet of Paris, the monumental history of Rome, or Barcelona’s reputation for Modernista masterpieces. And no, there is no equivalent of the Eiffel Tower, Colosseum or La Sagrada Família that you can point to and say ‘this is Madrid’. But Madrid has nothing to be envious of. Spain’s broad sweep of architectural history provides a glorious backdrop to city life, from medieval mansions and royal palaces to the unimagined angles of Spanish contemporary architecture, from the sober brickwork and slate spires of Madrid baroque to the extravagant confections of the belle époque. Put simply, this is one beautiful city.

Malmo – ‘The bridge’, connecting the city to cool-cat Copenhagen and its busy international airport, has helped forge a dynamic urban conglomeration. This, and the fact that Germany is just a short hop across the Baltic, helps explain why more than 150 nationalities call Malmö home. Indeed, Malmö is the worldliest, grittiest and most continental of Sweden’s major cities, a place where Middle Eastern markets, Italian coffee culture and edgy, gritty bars challenge Nordic stereotypes at every corner.

Managua – Stay a day or two and you will see that big, bad Managua ain’t so bad after all, and that this truly is the heartstring that holds the nation’s culture and commerce together. Skip it altogether, and you miss out on the revolutionary landmarks, vibrant dining and nightlife scenes and a slice of down-to-earth urban life that you’re unlikely to see anywhere else. Aside from diving into the spirited whirl of sprawling markets, improbable electric trees, remarkable street art and impressive monuments, Managua also gives you easy access to nearby lagoons, the nature reserve of Chocoyero-El Brujo, plus a smattering of fun beaches like Pochomil.

Manchester – ‘This is Manchester, we do things differently here’, declared culture catalyst and Factory Records founder Tony Wilson in 1977. It was a ballsy statement, given that Manchester’s musical renaissance hadn’t yet happened, the football teams were mediocre and the city was mired in economic depression. But bold statements and ironclad self-confidence have long been a thing in Manchester, the one-time engine room of the Industrial Revolution and a city that incubated communism, suffragism, vegetarianism and a bunch of other ‘isms’ aimed at improving humanity’s lot. In the 21st century, invention, discovery and progress remain the driving forces of this remarkable place, which responded to a terrible act of terrorism in 2017 by doubling down on the tolerant and inclusive attitudes toward all those who’ve made it home. For Mancunians born or based here, it is the best home in the world; for everyone else, it’s a brilliant place to visit.

Manhattan – Manhattan is the most densely populated of New York City’s 5 boroughs. It’s mostly made up of Manhattan Island, bounded by the Hudson, East and Harlem rivers. Among the world’s major commercial, financial and cultural centres, it’s the heart of “the Big Apple.” Its iconic sites include skyscrapers such as the Empire State Building, neon-lit Times Square and the theatres of Broadway.

Marrakech – Bahia Palace and the Dar Si Said are a riot of tilework and intricate floral painted-wood ceilings, the Saadian Tombs are enriched by an opulent bounty of marble, while the Musée de Mouassine and Musée de Marrakech are a showcase of swirling stucco and carved-wood design. And if you choose to bed down for a night in a riad, you’ll be able to sleep amid some of this splendour too. Marrakesh is a city steeped in ancient artistry that continues to thrive, kept alive by the modern craftspeople of the souqs and the contemporary art and design scene of the Ville Nouvelle. Wrapped within the 19 kilometres of powder-pink rammed-earth ramparts, the medina is Marrakesh’s show-stopping sight of crowded souqs, where sheep carcasses swing from hooks next door to twinkling lamps, and narrow, doodling ochre-dusted lanes lead to nowhere. The main artery into this mazy muddle is the vast square of Djemaa El Fna, where it’s carnival night every night. Stroll between snail vendors, soothsayers, acrobats and conjurers, musicians and slapstick acting troupes to discover the old city’s frenetic pulse. The party doesn’t end until the lights go out.

Marseilles Grit and grandeur coexist seamlessly in Marseille, an exuberantly multicultural port city with a pedigree stretching back to classical Greece and a fair claim to the mantle of France’s second city. Once seen as somewhat dirty and dangerous, and lacking the glamour of Cannes or St-Tropez, this black sheep of the Provençal coastline has blossomed in cultural confidence since its 2013 stint as the European Capital of Culture. The addition of a brace of swanky new museums is just the outward sign of an optimism and self-belief that’s almost palpable. Marseille’s heart is the vibrant Vieux Port (old port), mast-to-mast with yachts and pleasure boats. Just uphill is the ancient Le Panier neighbourhood, the oldest section of the city. Also worth an explore is the République quarter, with its stylish boutiques and Haussmannian buildings, and the Joliette area, centred on Marseille’s totemic Cathédrale de Marseille Notre Dame de la Major.

Melbourne – Melbourne is often dubbed the most ‘European’ of Australian cities – indeed the eastern, designer section of Collins St was crowned the ‘Paris End’ in the 1950s. There’s also a mini New York vibe here, thanks to the city’s well-ordered grid and scattering of art-deco high-rises. But Melbourne is uniquely Melbourne, too. Much of that is due to the 230-plus laneways that penetrate into the heart of city blocks, which are recognised for world-class street art, restaurants and bars. Spend a year here – or a lifetime – and there will still be another route to take; another gem to uncover. While central Melbourne has its own allure, the city’s charm lies in its diverse suburbs, each of which tells a different tale. Despite the long-standing north–south divide (glitzy South Yarra versus hipster Fitzroy), there’s an effortless, laid-back appeal surrounding Melbourne’s bars, cafes, festivals and people that transcends borders. Best experienced like a local, neighbourhood pockets of delicious food reflect the ethnic communities that inhabit them: Victoria St, Richmond, for Vietnamese; Carlton’s old-school Italian; Balaclava for Jewish bakeries; Middle Eastern in Brunswick; Footscray for Ethiopian; and Chinatown for Asian food matched only by its country of origin.

Montreal – Montréal is a slice of old Europe in a pie of contemporary design. A day’s wander might take in the photogenic 18th-century facades of Old Montréal before a cycling tour of the lovely Canal de Lachine, or a wander through the glittering shops and restaurants of downtown before ending at the inviting terraced cafes of Plateau Mont-Royal. The architectural sweep of the city takes in a wealth of heritage churches such as the breathtaking Basilique Notre-Dame, as well as 20th-century icons like the Stade Olympique and Habitat 67. Montréal’s hotels and museums additionally push the edges of contemporary interior design.

Mumbai Mumbai, formerly Bombay, is big. It’s full of dreamers and hard-labourers, starlets and gangsters, stray dogs and exotic birds, artists and servants, fisherfolk and crorepatis (millionaires), and lots and lots of people. It has India’s most prolific film industry, some of Asia’s biggest slums (as well as the world’s most expensive home) and the largest tropical forest in an urban zone. Mumbai is India’s financial powerhouse, fashion epicentre and a pulse point of religious tension. If Mumbai is your introduction to India, prepare yourself. The city isn’t a threatening place but its furious energy, limited (but improving) public transport and punishing pollution make it challenging for visitors. The heart of the city contains some of the grandest colonial-era architecture on the planet, but explore a little more and you’ll uncover unique bazaars, hidden temples, hipster enclaves and India’s premier restaurants and nightlife.

Source: Lonely Planet

I also have a print and follow an artist called Remko Heemskerk a Dutch artist/graphic designer who’s illustrations of cityscapes, particularly New York are really colourful and eye–catching abstract images.

Source: Greenwich Village, NYC 2012 – 2013

 

My designs

I approached the cities in the order that they were printed in the brief. I wanted to depict lesser known images of the cities that were interesting enough and had enough colour in them to make them stand out. Once I had a suitable image I used the Adobe Capture app to sample the colours and create a base for a suitable palette.

Madrid

Through my research, Madrid seemed to be a city of contrasts – the old part of the city and the modern. The older parts seemed to contain some of the more clichéd images and I felt that these had been seen before. I then came across an image of some very minimal, geometric and brutal architecture of a social housing project in the city and it conjured up the image of displaying something that was very 3 dimensional in a 2 dimensional way.

 

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I then took this image and dropped it into a pre–prepared A5 landscape Illustrator document and played around with the best position for the base image. This layer was then locked and a new layer created on which to create the abstract image. I then set about creating the geometric shapes and layering them and sampling colours from the original image.

Madrid-mockup

By just suggesting the shapes of the original image, using a simple sans–serif, geometric typeface(Franklin Gothic) and keeping the palette limited I think that the final design is cohesive and works really well.

This then set the tone for the rest of the cities. To keep the idea of the designs being a series I used the same typeface for all 10 cities as I thought that if more were used they wouldn’t relate to one another and appear to be individual pieces.

Malmo

Malmo was another city that I knew very little about. It seemed like a very modern, multi–cultural city and contained many influences because of that. From it’s gothic architecture, to its brightly coloured cottages, to its spiralling skyscrapers, Malmo has plenty of architectural imagery to choose from. Again, I didn’t want to depict anything that had been done a hundred times before. I was drawn to an old water tower that looked like some sort of UFO and based my design around this.

I needed some colour reference and found out that this was a sand–coloured tower which gave it a warmer colour than the Madrid image. I tried to give the sky a warmer blue colour and highlighted the corner of a foreground building in a warm orange/red colour to help balance it out. The text was picked from the shadows of the tower to continue the warm feeling. It also gives it a bit of a retro look.

Malmo-mockup

Managua

I only knew of Managua by name only. I searched for some interesting architecture that would stand out as a suitably abstract image. I found the usual touristy images of the tree sculptures and the shell–shaped Concha Acustica. I wanted something different and discovered a picture of the domes on top of the Catedral metropolitana de Managua. These looked interesting and could add depth to a flat image.

IMG_1773

I used a little artistic licence with this one as it needed some foreground and in another photo of the cathedral it show some trees around it. I added them to the foreground to frame the image and to add some contrast in colour to the mainly grey and white building.

Managua-mockup

Manchester

Do I use Manchester’s industrial heritage? The ship canal? Football? I collated a lot of images for this city and wasn’t sure which direction to take. I then came across an image of a staircase from the Lowry Centre in Manchester and it instantly said abstract to me and was an easy image to replicate in the desired style.

IMG_1768Manchester-mockup

Manhattan

One of my favourite cities I’ve been to. As said before, it’s not as grey as you think and there are plenty of examples of colour everywhere. Initially I wanted to use one of my own photos for this one, but I seemed to have been going through a bit of a black and white phase when I visited. However, I did find plenty of imagery suitable for this exercise. I wanted to depict an iconic image of Manhattan and the buildings with fire escapes on the outside speak to me on that front. They cast such amazing shadows as the light shines through then at different times of the day. One of the photos I took while on the Highline in New York is a favourite of mine shows this.

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I found a similar colour image that I liked and transformed it into a flat image and the results were really successful.

IMG_1772Manhattan-mockup

Marrakech

This city took me in a completely different direction to which I had expected. I had initially thought it would be an image of the souks with the coloured spices and every colour of textile you could possibly think of. I researched loads of images but nothing seemed to spark my interest. I then randomly came across the image below which threw a spanner in the works as to your atypical image of Morocco.

IMG_1771

These colours popped out of the image instantly and created a complete contrast to the rest of the imagery I had found. It was also geometric in its form which really appealed to the general feel whole exercise.

Marrakech-mockup

I like this particular design because it isn’t the normal imagery associated with Marrakech.

Marseilles

Marseilles threw up lots of images of the old city and its medieval heritage. However the images that I was drawn to were the ones of a modernist housing development called La Cité Radieuse designed by Swiss architect Charles-Edouard Jeanneret, better known as Le Corbusier. La Cité Radieuse was named a  world heritage site by UNESCO in 2016. I really liked the geometry and bold colours of the buildings and felt that it would translate well to a flat image.

Marseille-mockup

Melbourne

My wife has been to Melbourne and struggled to think what could be used as a suitable image. My search was quite fruitless trying to find an inspiring image. The beach huts at Brighton beach were the the clear leader for most of the way. Then, going down the architecture route again I found an image of A’Beckett Tower in Melbourne and its unusual appearance due to its balconies. The geometry and muted colours spoke to me again.

IMG_1769Melbourne-mockup

Montreal

This was another tricky city to depict. The architecture was very modern and their were plenty of clean, shiny, geometric buildings to choose from including the geodesic dome of the Montreal Biosphere and even the Sails Park benches. I liked the idea of doing the dome as a solid, translucent circle encompassing the structure inside. I then found an image of the Cheese-grater building, yet another brutalist building that would translate into a flat image fairly easily.

IMG_1767

I liked the way that the blinds were all in differing stages of being open/closed. I tried to capture this in my depiction.

Montreal-mockup

Mumbai

Mumbai was a city that I knew nothing about. I had a few ideas of what I’d like to do and thought that this could be the most colourful of the whole exercise. Initially I deliberately wanted to veer away from an architectural image because I had done so many others. I found an image depicting some people in brightly coloured clothing which I thought would make a nice abstract image.

3cff98e30eed7117d98b034ae5850bafMumbai-mockup

At the time I thought that this was good enough to fit the brief. However, after stepping back and re–looking at my designs I felt that this was the weakest of the lot and decided to redo it. I wanted to find an image of a step–well as these are amazing geometric structures that defy belief but I couldn’t find any that were in or near Mumbai. Back to my images and I found one that reminded me of the example given in the exercise description. It had a clearly defined background and detail in front that could be highlighted.

IMG_1766

Mumbai-mockup1

I feel that this design is the nearest to the original image given as an example in the exercise description and as a result has turned out very successful and visually interesting.

Finalising

All the designs were made in Adobe Illustrator and then saved as jpegs which were then transferred into Photoshop and mocked–up as covers of an A5 brochure. I then animated these into a slideshow showing all the designs using Adobe Photoshop Timeline.

Feedback

I asked my peer group of fellow students for their feedback on the project and they agreed with my decision to change the Mumbai image. They were particularly positive about the Manhattan, Malmo and the Montreal images.

Conclusion

I wasn’t looking forward to this exercise as I envisaged it being more difficult than it was. Once I got into the swing of finding appropriate images and then creating an abstract version of them I found it more enjoyable. Mumbai was the only real hiccup and I think that I have sorted that now. Using the same typeface links all the designs together as a series as well as the strong architectural imagery used in all 10 designs. The use of more unusual architecture as opposed to the usual tourist sights give the series a more of an architectural feel as opposed to a touristy one. This gives a more “off the beaten track” impression of the guides appealing to seasoned travellers rather than a more commercial travel brochure.

Overall I think that I like the Manhattan image the best, but that maybe because I’m biased towards New York.

 

Understanding Colour

Johannes Itten was an artist, designer and educator who spent much of his life exploring how colour works, especially the dynamic relationship between colours. This is one of his exercises.

Draw two grids of squares, filling one with colours that you like and the other with colours you dislike. Then put the two grids side by side and ask the question ‘which one looks better?’

The usual result is the grid full of colours you dislike. This is because we tend to pick bright colours as the colours we like, which when placed side-by-side look garish and jarring. By contrast the colours we think we don’t like as much are often the more subtle and muddier mixed colours, tertiary colours and occasional bright hues. When placed side by side the effect is more balanced.

This is an important lesson for designers when picking a colour palette to work with: use bright colours but balance them against more subtle colours. It will also help you become better acquainted with your image manipulation or DTP software – identifying where your colour swatches are, how to select them and how you blend colours by changing their opacity.

Next try experimenting with placing colours together as Itten did.

Try and find different combinations of two colours to illustrate each of these ideas:

  • Angry
  • Brave
  • Creative
  • Dangerous
  • Energetic
  • Familiar
  • Gregarious
  • Hopeful
  • Independent
  • Jumpy
  • Kinetic
  • Luxurious
  • Masculine
  • New
  • Open
  • Precious
  • Quiet
  • Reasonable
  • Sociable
  • Tasteful
  • Unhappy
  • Vital
  • Wonderful
  • Extra special
  • Youthful
  • Zany

Primary Research

I needed to find out about Johannes Itten as I had never heard of him before.

Johannes Itten

1919–1923 Bauhaus master /
1919–1923 deputy director

 

Secondary research

Then to move on to colour theory. I had done some colour theory in my diploma many moons ago but hadn’t looked at it in depth. I had covered Primary, Secondary, Tertiary and complimentary colours before but had not looked at other colour relationships.

I had come across these other colour relationships before as part of the Adobe Illustrator colour guide, but I was unaware of how they actually related to the colour wheel.

Screenshot 2019-03-18 at 16.43.10

Looking more deeply into colour theory I came across the below infographic which I though demonstrated the colour relationships plus it covered hue and shade and also the effects of the colour mode in which the colours are reproduced.

Research point

Designers I like

I suppose I like the classic designers like Josef Müller–Brockmann; Paul Renner; Frank Lloyd Wright; Saul Bass and Paul Rand. Currently I’m reading Michael Beirut’s book “How to” at the moment and I have a bit of a man–crush on Chris Do and everything he does.

Josef Müller–Brockmann

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.

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.

Source: Designhistory.com

Josef Müller–Brockmann is fairly new addition to the list of designers I like. Chris Do has introduced me to the work of the early Swiss designers and the minimal, grid–based work that they did. I am a big fan of minimal design and typography of the Swiss designers.

Paul Renner

Paul Friedrich August Renner (9 August 1878 – 25 April 1956) was a typeface designer. In 1927, he designed the Futura typeface, which became one of the most successful and most-used types of the 20th century. He was born in Wernigerode, Germany and died in Hödingen.

He had a strict Protestant upbringing, being educated in a 19th-century Gymnasium. He was brought up to have a very German sense of leadership, of duty and responsibility. He disliked abstract art and many forms of modern culture, such as jazz, cinema, and dancing. But equally, he admired the functionalist strain in modernism. Thus, Renner can be seen as a bridge between the traditional (19th century) and the modern (20th century). He attempted to fuse the Gothic and the roman typefaces.

Renner was a prominent member of the Deutscher Werkbund (German Work Federation). Two of his major texts are Typografie als Kunst (Typography as Art) and Die Kunst der Typographie (The Art of Typography). He created a new set of guidelines for good book design and invented the popular Futura, a geometric sans-serif font used by many typographers throughout the 20th century and today. The typeface Architype Renner is based upon Renner’s early experimental exploration of geometric letterforms for the Futura typeface, most of which were deleted from the face’s character set before it was issued. Tasse, a 1994 typeface is a revival of Renner’s 1953 typeface Steile Futura.

Source: Wikipedia

Paul Renner was a logical step from the minimal designers I was interested in and his typography design skills and his contribution to the Bauhaus movement.

Frank Lloyd Wright

Frank Lloyd Wright (June 8, 1867 – April 9, 1959) was an American architect, interior designer, writer, and educator, who designed more than 1,000 structures, 532 of which were completed. Wright believed in designing structures that were in harmony with humanity and its environment, a philosophy he called organic architecture. This philosophy was best exemplified by Fallingwater (1935), which has been called “the best all-time work of American architecture”. His creative period spanned more than 70 years.

Wright was the pioneer of what came to be called the Prairie School movement of architecture, and he also developed the concept of the Usonian home in Broadacre City, his unique vision for urban planning in the United States. In addition to his houses, Wright designed original and innovative offices, churches, schools, skyscrapers, hotels, museums, and other structures. He often designed interior elements for these buildings, as well, including furniture and stained glass. Wright wrote 20 books and many articles and was a popular lecturer in the United States and Europe. Wright was recognized in 1991 by the American Institute of Architects as “the greatest American architect of all time”

Source: Wikipedia

Frank Lloyd Wright's Kaufmann House, also known as Fallingwater, in Mill Run, Pennsylvania.

Source: Architectural Digest

I know he’s not a graphic designer but once again I’m drawn to the minimal design of his architecture and how it has been influenced by minimalist design movements.

Saul Bass

Saul Bass (May 8, 1920 — April 25, 1996) was a graphic designer and filmmaker, perhaps best known for his design of film posters and title sequences. Saul worked side-by-side with his wife Elaine Bass for much of his career.

During his 40-year career Bass worked for some of Hollywood’s greatest filmmakers, including Alfred Hitchcock, Stanley Kubrick, Otto Preminger, Billy Wilder, and Martin Scorsese. He became well-known in the film industry after creating the title sequence for Otto Preminger’s The Man with the Golden Arm in 1955. For Alfred Hitchcock, Bass designed effective and memorable title sequences, inventing a new type of kinetic typography, for North by NorthwestVertigo (working with John Whitney), and Psycho.

Bass also designed some of the most iconic corporate logos in North America, including the original AT&T “bell” logo in 1969, as well as their later “globe” logo in 1983. He also designed Continental Airlines’ 1968 “jetstream” logo and United Airlines’ 1974 “tulip” logo which have become some of the most recognised logos of the era.

In 1955, Elaine Makatura came to work with Saul Bass and after the opening title sequence to Spartacus in 1960, which Elaine co-directed and produced, the two were married. Much of Saul Bass’s title design and film work thereafter was made in close collaboration with Elaine. After the birth of their children, Jennifer in 1964 and Jeffrey in 1967, the Basses concentrated on their family, short films, and title sequences. Their first joint venture into short filmmaking was with promotional films for pavilions at the 1964 World’s Fair, From Here to There for United Airlines and The Searching Eye for Eastman Kodak. In 1968, they made the short film Why Man Creates, which won an Oscar.

Toward the end of his career, Saul Bass was “rediscovered” by James L. Brooks and Martin Scorsese, who urged the Basses to return to main title design.

For Scorsese, Elaine and Saul Bass created title sequences for GoodfellasCape FearThe Age of Innocence, and Casino, their last title sequence.

Source: Artofthetitle.com

Image result for saul bassImage result for saul bassImage result for saul bass

I first came across Saul’s work in researching logo ideas and how his work had influenced so many designers since and how his designs are timeless. This then led me to his discovering his work in the film industry designing the titles for many iconic movies.

Paul Rand

Paul Rand was an eminent twentieth century American graphic designer and art director. He was the pioneer of iconic corporate logo designs for major firms, including IBM, ABC, Morningstar, Inc., NeXT Computer, Yale University and Enron. He was an avid practitioner of Swiss Style of graphic designing in American advertising industry.

On August 15, 1914, in Brooklyn, New York, Rand was born as Peretz Rosenbaum. Since a very early age, he had a keen interest in painting and designing which reflected through his painting signs for his father’s grocery store and for his school events. As his father was of the view that art alone would be insufficient to provide a satisfying lifestyle for his son, so he enrolled him at Manhattan’s Harren High School. While studying there, Paul also attended night classes at the Pratt Institute from 1929 to 1932. He attended several art schools in succession such as The New School for Design, the Art Students League and Yale University in Connecticut. Notwithstanding his rich academic career in arts, Rand developed his graphic sense through self-education largely, as he voraciously read the European magazines, discovering the works of Cassandre and László Moholy-Nagy.

Subsequently, Rand began his career as a part-time stock image creator for a syndicate. Soon his class assignments and part-time job rendered him to assemble a distinguished portfolio. His work was highly influenced by Sachplakat, the German advertising style and Gustav Jensen’s works. During this time he also decided to cloak his Jewish origin by shortening and modernizing his name Peretz Rosenbaum as Paul Rand. The decision worked in his best interest as he became the most enduring brand name for graphic designing. Shortly after, he became a success story and during his twenties his graphic work earned international recognition. One of his notable designs was featured on the cover of Directionmagazine, which he created free of charge in honor of artistic freedom.

Despite the fact that Rand earned his ultimate success by designing corporate logos, however, the source of his reputation is based on his initial work on page design. In mid 1930s he was requested by Apparel Arts (now GQ) magazine to develop the page layout for their anniversary issue. Later he was offered a job at another prestigious magazine, Esquire-Coronet, as an art director. After first refusal, he accepted the offer, managing the fashion pages for Esquire. During 1950s and 1960s, Paul Rand became a brand name for logo designing in corporate industry. Many of the above mentioned firms owe their graphic designing heritage to him. In 1956, IBM became one of the companies that truly defined his corporate identity. He revised the IBM logo design in 1960 and yet again in 1972 with the famous stripes pattern.

Moreover, Rand’s graphic genius is also evident from his collaboration with the technology giant, Steve Jobs, on the NeXT Computer corporate identity project. The logo containing a simple two-dimensional black box presenting the four-letter company’s name manifested a visual harmony. Steve Jobs admired Rand’s graphic creativity and called him “the greatest living graphic designer.” Besides art direction, he taught at Yale University, as a Professor of Graphic Design. Additionally, he wrote several crucial works on design such as Design, Form and Chaos, Thoughts on Design and Design and the Play Instinct. In his final years he recorded his memoirs and focused on designing. At the age of 82, Paul Rand died of cancer in 1996 and was interred at Beth El Cemetery.

Source: Famousgraphicdesigners.org

Enron LogoNeXT LogoIBM LogoABC LogoUPS logo

Paul Rand is yet another logo designer I admire as he defined many iconic brands through his work.

Michael Bierut

Michael Bierut is one of the leading American graphic designers, design critic and educator. At Vignelli Associates, he was the vice president of graphic design. He also served as a senior critic at the Yale School of Art. He had close association with the American Institute of Graphic Arts (AIGA) and Pentagram, as well.

Born in 1957, Michael Bierut grew up in Cleveland Ohio. Graphic design was not as popular in those times that it would be promoted to young adults. His love of fine art, drawing and music helped him find only two books in the library on the subject. He finally decided to study graphic designing at the University of Cincinnati’s College of Design, Architecture, Art and Planning. He interned for another AIGA medalist, Chris Pullman, at a Boston public television station, WGBH. Upon graduation in 1980, he on to work for Vignelli Associates and in the span of a decade he became its Vice President. He had serious industry clout there but it also helped him form the key principle of his career. According to him, things that get designers really interested are in actuality not that significant.

Bierut is visionary who understands the company’s readership and audience. Working at Vignelli Associates he acknowledged the fact that the annual reports and corporate brochures created by designers are not read keenly. So he altered his strategy as he strove to create the kind of content that people feel interested in reading. When Beirut began to work for the company, he had to do most of the work manually because the technological advancement had not yet arrived. He credits the first four years working for Vignelli Associates for empowering him to achieve what he has today. He used to design invitations for his friends’ parties, freebies for non-profits, unique birthday cards and packaging for mix tapes. Massimo Vignelli assigned him more and more work as he observed he grew efficient with time.

In 1990, Bierut became a partner with the New York office of Pentagram. There he served clients such as Alliance for Downtown New York, Motorola, Alfred A. Knopf, the Walt Disney Company, the Toy Industry Association, Yale School of Architecture, Princeton University and New York University. Exhibition on the psychedelic era for the Rock and Roll Hall of Fame was one of the projects that Bierut managed. Moreover, he offered his services as a design consultant to United Airlines. Dwell sought his assistances on design book recommendations, while Fast Company required his valuable opinion on corporate branding. Morgan Library Museum recently sought his expertise on the development of a new signage and identity as it expanded. The New York Times building and Phillip Johnson’s Glass House hired him to create the environmental graphics for them. Besides redesigning The Atlantic magazine, he developed marketing strategies for William Jefferson Clinton Foundation.

Michael Beirut’s innumerable and invaluable contributions to graphic designing had him earned over hundreds of accolades. Also his work is in permanent collections in several museums across the globe including cities like New York, Montreal, Germany, and Washington D.C. During late 1980s, he was appointed president emeritus of the New York Chapter of the AIGA and currently holds the presidency of AIGA national. Additionally, Princeton Architectural Press has published his book Seventy-Nine Short Essays on Design, in 2007. Being a senior critic at Yale he also co-edits the anthology series Looking Closer: Critical Writings on Graphic Design.

Source: Famousgraphicdesigners.org

Image result for michael bierutImage result for michael bierut

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I have now finished reading Michael’s book and it has only lead me to hold him in higher regard. His career is an impressive one and his work is so clever and his approach to some of the briefs he has undertaken has been inspirational to me.

Chris Do

Chris Do is an Emmy award winning designer, founder and CEO of Blind, Inc., where he oversees the creative and strategic direction of the company.

Mr. Do currently serves on the board and is an advisor for organizations including: AIGA/LA, Emmys Motion & Title Design Peer Group, Otis Board of Governors, Saleshood, Santa Monica College and Woodbury University.

He received his BFA from Art Center College of Design in Graphics/Packaging, where he has taught Sequential Design for over a decade. He’s lectured at: California Institute of the Arts, LA Art Institute, Siggraph, Otis College of Design, MGLA, Cal State Los Angeles/Northridge and San Diego City College.

Prior to forming Blind, Mr. Do worked at Cole & Weber, Seattle as an Art Director, Epitaph Records as a designer and freelance designer at broadcast design firm, Novocom and R/GA LA under Kyle Cooper on main titles such as The Island of Dr. Moreau, Celtic Pride and Eraser.

Source: blind.com

Image result for chris doChris is my current man–crush. He is a motion designer and graphic designer based in L.A.. His studio now has a sideline in teaching elements of design and the business of design which I am an avid follower of.

Finishing your artwork

Graphic design software

When I initially did my diploma back in ’93 Photoshop etc. didn’t exist. Any computer based design was done on CorelDRAW and desktop publishing was done with QuarkXpress. I did use CorelDRAW to do some mockups and for setting up type but didn’t do much more. I didn’t get to try QuarkXpress so I have no experience in using it.

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Since then Photoshop, Illustrator and InDesign have become industry standard as well as many other parts of Adobe’s Creative Cloud. I have had these 3 programmes in some form or another for several years now and subscribe to Creative Cloud(at a student rate) as I like to have the most up-to-date versions. I mainly work in Illustrator making logos and posters and it is an ongoing learning experience as I’m learning new stuff everyday. I have done some work in Photoshop but I feel less familiar with it than Illustrator as I don’t use it as much and when I do(even though I have a decent camera!), I probably only scratch the surface of what it’s capable of. Indesign is least familiar of the 3. I haven’t had much to do with it, but since my visit to the printers recently I have realised I need to know more. Adobe has a vast suite of software and I’m sure it does some amazing things. However, my knowledge is limited and I’m hoping that as I do more of this course it will enable me to expand my knowledge and use the software to more of its potential. Every day’s a school day!

Visit to the printers

Following the exercise on mocking-up your designs I decided that I needed to know more about the print side of the design world and what their requirements were from designers.

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I approached a local firm Newton Print who were more than happy to let me come in and talk to them and have a look around their premises. I had arranged to meet their Sales and Marketing Manager, Simon Besley. But on arrival, while waiting in reception to meet Simon, the Studio Manager came back from his lunch. He happened to be a guy I had originally done my Graphic Design diploma with back in the early 90s! Small world! As Darren(the Studio manager) and I knew each other Simon decided to let Darren give me the tour. We started off with his role in the business. Darren was responsible for vetting all the artwork submitted by designers, making sure everything was the correct spec and all the required information was there to enable the printers to do their job. I asked Darren what he required from designers in order to get it ready for print? He said that basically he needed a high quality PDF with the correct bleed and colour settings(CMYK) and any other special requirements such as spot colours or special finishes. The design was then laid out ready for print depending on the format of what was being printed. From there Darren took me through to the plate room where the laid-out designs were made into the plates need for the printer in the 4 process colours. These are then loaded into the 6 drum offset printer(Cyan; Magenta; Yellow; Key; Spot colours and varnishes). The printer checks the printed pages to make sure everything lines up and the colours are true and then passes it to the binders where it is trimmed to size and bound in the required spec. Darren also showed me a fairly new digital printing press that they had that was used for more bespoke designs and small print runs.

The main piece of advice I can take away from this visit is to ‘talk to your printer’. The guys at Newton Print couldn’t stress this more as it was more important to iron out any problems early on before going to print and it being too late!

Some of the goodies from the guys at Newton Print

I feel that this was a worthwhile thing to do as it gave me a really good insight into the print process. Also being able to ask the printers what they would ideally like to be given by designers is invaluable when it comes to producing work for print. Getting to know and being on good terms with a good printer is one of the pieces of advice taken from the book Print & Finish by Ambrose/Harris(from the reading list).

“Leap…”

FEC17001-EBB9-4F61-B3B5-E4BB2310A7B5So, after years of writing off the possibility of returning to graphic design I now find myself in a position to do so after a 25 year “break”. After working my way up the catering ladder in kitchens in the south-west and London, the arrival of my twin boys made me re-evaluate what I wanted out of life which didn’t include working in hot, sweaty kitchens evenings and weekends! I still needed a creative outlet and it was obvious to all around me that I needed to do something about it. I had also come to the same conclusion and began researching any possible way that I could complete my graphic design training and prove to myself that it is what I should have been doing all along while still holding down a job and bringing up a young family. I found a few choices of part-time online course providers and whittled it down to the OCA. I also found out that I could fund my studies with student finance which helped alleviate the financial worries of becoming a student again. With the full support of my wife and friends I decided to take the leap into the unknown which is why I am here now, a little excited and daunted by what lies ahead.