Chapter 24 Flashcards
Dont Fail!!!!
Adobe Systems
Notes: Invented PostScript which uses bezel curves. Also came out with PhotoShop and Creative Suite.
Text Book: PostScript fonts are not simply made up of bitmapped dots; rather, they are stored as graphical commands and data.
Became a prolific and influential digital type foundry.
Apple Computer
Notes: Developed the Macintosh computer in the 1984.
Text Book: Early fonts were all bitmap. Also developed iPod/iPad/iPhone lines.
April Greiman
Notes: Very into new Tech. Especially the Mac. Designed an issue of DESIGN QUARTERLY that folded out into a life sized bitmap image of herself in the nude. Used the Mac in ways that were completely unheard of at the time.
Text Book: explored the visual properties of bitmapped fonts, the layering and overlapping of computer-screen information, the synthesis of video and print, and the tactile patterns and shapes made possible by the new technology.
Early on, April Greiman recognized the potential of the Internet as a new creative medium. She explored and developed new technologies in pursuit of a visual vocabulary that would enliven the virtual canvas.
Barbara Kuhr
Notes: From Park City Utah. Designers and art directors for Wired Magazine based in SF. Very forward thinkers. Used a lot of florescent inks.
Text Book: Plunkett and Kuhr came to Wired, a San Francisco publication, via Paris, France, where they had met the magazine’s founding publisher, Louis Rossetto, in 1984. In 1991, Kuhr designed a color-xeroxed prototype for wired, and after much searching for funding by Rossetto and his partner Jane Metcalf, Wired was born in 1994 (Fig. 24-17).
David Carson
Notes: Total P.I.M.P. of the design world. “Don’t mistake legibility for communication.”
Text Book: Art Director and designer for Transworld Skateboarding, Musician, Beach Culture, Surfer, and Ray Gun magazines.
Carson flouted design conventions. Often letterspaced his article titles erratically across images or arranged them in expressive rather than normative sequences.
Received a lot of grief from other artists about his crazy ways.
He believes one should not mistake legibility for communication, because while many highly legible traditional printed messages offer little visual appeal to readers, more expressionist designs can attract and engage them.
Edward Fella
Notes:
Text Book: A Detroit graphic designer who was a major force within the design world. With roots in American vernacular design and early modernist typography, Fella’s experimental work became a major influence on a generation of designers.
Fella wryly observed, “Deconstruction is a way of exposing the glue that holds together Western culture.”
Emigre
Notes: Started by Rudy VanderLans
Text Book: With the creation and publication of Emigre, they originally intended to present their unpublished works alongside the creative works of others. The journal’s name was selected because its founders believed that exposure to various cultures, as well as living in different cultural environments, has had a significant impact on creative work.
Emigre’s experimental approach helped define and demonstrate the capabilities of this new technology, both in its editorial design and by presenting work that was often too experimental for other design publications (Figs. 24-5 and 24-6).
Erik Spikerman
Notes:
Text Book: Type Designer. Designs include: FF Meta, FF MetaSerif, ITC Officina, FF Govan, FF Info, FF Unit, LoType, Berliner Grotesk, and many corporate typefaces.
Established MetaDesign, the largest German design firm, which now has offices in Berlin, London, and San Francisco.
Corporate clients have included Audi, Skoda, Volkswagen, Lexus, and Heidelberg Printing. In addition, there have been signage projects for the Berlin transit system and the Düsseldorf airport. In 1988, he founded FontShop, a firm specializing in creating and distributing electronic fonts.
Fred Woodward
Notes:
Text Book: Art director for Rolling Stone. Also art director for Texas Monthly and Regardie’s.
Saying that he preferred never to use a typeface more than once, Woodward expressed an interest in dynamic change and in creating a publication that constantly reinvented its design in response to content.
Hatch ShowPrint
Notes:
Text Book: One of the oldest continuously running letterpress shops in the US.
Now owned by the Country Music Hall of Fame, Hatch Show Print is synonymous with Nashville’s musical and cultural heritage (Figs. 24-99, 24-100, 24-101).
Imaginary Forces
Notes: Film-Title Design firm. Designed sequence for movie SEVEN.
Text Book: It rapidly became the vanguard of film-title design by integrating graphic design, motion, and interactive media.
In 2000, the founding members of Imaginary Forces were joined by Mikon van Gastel, Karin Fong (b. 1971), Kurt Mattila, Michael Riley, Linda Nakagawa, and Saffron Kenny. All partners have their own individual styles and areas of expertise, but work in other areas according to the demands of a particular project. Describing his methodology, Cooper stated: “Everything starts with the words. I read the script. If the script is based on a novel, I try to read the book. I like it when main titles tap into somebody’s obsession” (Fig. 24-62, 24-63, 24-64).
John Plunkett
Notes: From Park City Utah. Designers and art directors for Wired Magazine based in SF. Very forward thinkers. Used a lot of florescent inks.
Text Book: Plunkett and Kuhr came to Wired, a San Francisco publication, via Paris, France, where they had met the magazine’s founding publisher, Louis Rossetto, in 1984. In 1991, Kuhr designed a color-xeroxed prototype for wired, and after much searching for funding by Rossetto and his partner Jane Metcalf, Wired was born in 1994 (Fig. 24-17).
Jonathan Hoefler
Notes: Type designer. Designed typefaces for ROLLING STONE, HARPER’S BAZAAR, THE NEW YORK TIMES MAGAZINE, SPORTS ILLUSTRATED, AND ESQUIRE.
Designed GOTHAM typeface.
Text Book: In 1989 he began the Hoefler Type Foundry; when he became a partner of Tobias Frere-Jones (b. 1970) in 1999, the Hoefler Type Foundry was transformed into Hoefler & Frere-Jones.
Kit Hinrichs
Notes: A “visual storyteller.” Current Art Director for @issue.
Text Book: In 1972, he founded Hinrichs Design Associates, which focused on reinterpreting the annual report with a concentration on the character of particular companies.
In 1976 he began Jonson, Pedersen, Hinrichs & Shakery, a designers association situated on both the East and West Coasts of the United States.
In 1986, he became a partner at Pentagram, and his organization became Pentagram’s San Francisco office.
Katherine McCoy
Notes:
Text Book: At Cranbrook Academy of Art, graphic designer Katherine McCoy (b. 1945) co-chaired the design department with her husband, product designer Michael McCoy (b. 1944), from 1971 until 1995, and it became a magnet for people interested in pushing the boundaries of design.
As mentioned earlier, Cranbook’s graphic design department, under the direction of Katherine McCoy, emphasized invention and encouraged students to develop their own design philosophies and methodologies.
