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gap   New window
Date: Wednesday, 17 Nov 2010 03:08

The Gap, Inc.

The Gap was founded in 1969 by Don Fisher offering customers updated, casual clothing and accessories. The Gap also includes GapKids, babyGap, GapMaternity and gapbody. The Gap and is now one of the world’s largest specialty retailers, with approximately 3,100 stores and fiscal 2009 revenues of $14.2 billion. The Gap, Inc. operates five different apparel brands — Gap, Banana Republic, Old Navy, Piperlime and Athleta.

The World headquarters offices are based in the San Francisco Bay Area and our product design offices are located primarily in New York City, San Francisco and London. There 3,076 stores worldwide and 134,000 employees.

Logo

historic and current logo

a brief re-branding in 2010 that was met by backlash by the public

Links

http://www.gap.com

Author: "alison@96.250.31.168"
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Date: Wednesday, 17 Nov 2010 02:41

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

Author: "alison@96.250.31.168"
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Date: Friday, 16 Apr 2010 21:16

Memefest

International festival of radical communication

Memefest is a international festival of radical communication which rewards and nurtures socially responsible and innovative approaches to communication.

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.

Link

Memefest

Related Links

Memefest LatinoAmérica Memefest Balkan Declarations Design is not enough People's communication charter First things first manifesto Center for social psychology Studio Poper Inkahoots

Author: "olivervodeb@93.103.34.210"
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Date: Wednesday, 20 May 2009 10:14

Rushton Phillips

Brian Rushton Phillips (born April 19, 1972), is a German-Canadian visual artist and graduate of the Ontario College of Art & Design (OCAD).

Notable Projects

April, 2009: A casualty of the 2008 economic crisis, unemployed conceptual artist Brian Rushton Phillips, has used his remaining cash as a medium to comment on the downturn and his own financial uncertainty.

Entitled ‘Financial Security (Blanket)’, the project incorporates 208 American dollar bills, sewn together with thread, to form a makeshift security blanket. The fragility of the blanket conjures an oxymoronic image, consistent with the current state of global unemployment, homelessness and financial insecurity.

Related Links

http://www.rushtonphillips.com/financial_security.html http://www.rushtonphillips.com

Author: "rushtonphillips@70.51.127.251"
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Date: Wednesday, 15 Apr 2009 03:49

April Greiman

Official Bio

[Source: aprilgreiman.com]

April Greiman’s innovative ideas and hybrid-based approach have influenced and served design and designers, clients and their projects worldwide over the last 25 years. Her explorations of typography and color as objects in time and space are grounded in her singular fusion of technology and graphics. The power of her imagery and design solutions trigger action and response, in some cases doubling and quadrupling her client’s target audiences and goals. The posters and catalogues designed for California Institute for the Arts from 1978-1982 re-positioned the school, quadrupled student applications and doubled enrollment in some programs. A similar result followed the introduction of her identity system for Southern California Institute of Architecture (SCI-Arc) in the early 1990’s.

A designer who continues to change our perceptions, her work has been instrumental in the acceptance and use of advanced technology in problem solving and the design process. In the early 1980’s, Greiman pioneered digital design and became renowned for her radical experiments with the Apple Macintosh. Clients whose projects have become legendary for her experimental merger of type and image include PacTel, Esprit, US West, the Walker Art Center, SCI-Arc, and the United States Postal Service, which commissioned the design of a commemorative stamp for the 19th Amendment in 1995. Over 150 million impressions of this stamp were printed.

A growing interest in the built environment has led to close collaborations with architecture firms such as Emilio Ambasz & Associates, Will Bruder Architects, Frank O. Gehry & Associates and RoTo Architects. These projects range from signage and exhibitions to the development of color, surfaces and materials palettes.

Today, April Greiman brings a unique approach that blends technology and science with symbol and myth, words and images with texture and space. Her singular expertise is focused on color-surfaces-materials consulting and trans-media identity and lifestyle-branding projects for such clients as AOL Time Warner, Sears Great Indoors, Amgen, Inc. and the new La Jolla Playhouse.

Among her most prestigious awards are the Hall Chair Fellowship, Hallmark Corporation (1989); local, state and national design awards, American Institute of Architects (1994-99); Gold Medal, American Institute of Graphic Arts and Chrysler Award for Innovation, Chrysler Corporation (both 1998). Ms. Greiman lectures, participates in juries and her work has been exhibited worldwide. Her ideas and work have appeared in articles, interviews, reviews and broadcasts in the media, ranging from

Domus and Time to The New York Times and USA Today to CNN, PBS and ESPN. Books have included April Greiman: Floating Ideas into Time and Space, It’snotwhatAprilyouthinkitGreimanis, Hybrid Imagery: The Fusion of Technology and Graphic Design, Seven Graphic Designers, and Something from Nothing.

April Greiman was born in Metropolitan New York City and studied graphic design at Allgemeine Kuntsgewerbeschule in Basel, Switzerland and the Kansas City Art Institute. After working as a freelance designer in New York City, she moved to Los Angeles in 1976, establishing her multi-disciplinary design practice, currently called Made in Space.

Sample Work

Cerritos Center for the Performing Arts brand identity and tile motifs (1993)

China Club Restaurant and Lounge brand identity (1979–1980)

19th Amendment Commemorative Stamp for Women’s Voting Rights (1995)

Wilshire/Vermont mixed-use Metro Station public mural (2007)

Link

Made in Space

Books

April Greiman: Floating Ideas into Time and Space Something from Nothing (Design Process) Hybrid Imagery: The Fusion of Technology and Graphic Design April Greiman: Large scale posters April Greiman: [exhibition], Swen Parson Gallery, November 16- December 19, 1982 Does it make sense?

Books about April Greiman

April Greiman, by Francine Fort, Carel Kuitenbrouwer, and Rick Yoynor April Greiman: It's Not What You Think It is by F. Fort, R. Poynor, and C. Kultenbrouwer

Author: "su@71.194.186.185"
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aiga   New window
Date: Monday, 07 Jan 2008 05:50

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

Related Links

Voice: AIGA Journal of Design

Author: "sue_apfelbaum@209.131.121.114"
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esdi   New window
Date: Monday, 07 Jan 2008 05:36

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

Author: "barbara@201.37.205.67"
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Date: Monday, 07 Jan 2008 05:26

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

Author: "barbara@201.37.205.67"
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memefest   New window
Date: Saturday, 05 Jan 2008 23:28

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

Related Links

Memefest LatinoAmérica Memefest Balkan Declarations Design is not enough People's communication charter First things first manifesto Center for social psychology Studio Poper Inkahoots

Author: "olivervodeb@86.58.46.25"
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wishlist   New window
Date: Thursday, 03 Jan 2008 14:35

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 / The Gap, Inc. / 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

Author: "cadencia3d@195.166.131.89"
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aiga   New window
Date: Wednesday, 02 Jan 2008 07:40

AIGA

Official Description

[Source: aiga.com]

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

Related Links

Voice: AIGA Journal of Design

Author: "sue_apfelbaum@209.131.121.114"
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Date: Wednesday, 31 Oct 2007 07:36

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

Author: "herron_vice@75.184.122.255"
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Date: Monday, 22 Oct 2007 01:16

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

Related Links

Smeijers on Type radio Hochschule für Grafik und Buchkunst Fred Smeijers at FontShop Smeijers on MyFonts Identifont, Smeijers

Books

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

Author: "thomasf@84.197.52.52"
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Date: Sunday, 21 Oct 2007 09:33

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

Related Links

Typografica Favorite Fonts of 2004 Typografica Favorite Fonts of 2006 FontShop 100 best fonts Spiekermann.com Smeijers on Type radio

Books

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

Author: "thomasf@84.197.52.52"
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Date: Sunday, 21 Oct 2007 09:26

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 the same year.

With the award of the Gerrit Noordzij Prize in 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

Links

Hyphen Press FontShop

Related Links

Smeijers on Type radio Hochschule für Grafik und Buchkunst Fred Smeijers at FontShop Smeijers on MyFonts Identifont, Smeijers

Books

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

Author: "thomasf@84.197.52.52"
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Date: Wednesday, 26 Sep 2007 05:03

29letters

Pascal Zoghbi

Arabic Type Designer and Typographer

Pascal Zoghbi (Lebanon) graduated in July 2006 with a Master of Design from the Type & Media course at the Royal Academy of Arts in The Hague. In 2002 he received his Bachelor Degree of Arts from Notre Dame University in Lebanon. Prior to his postgraduate studies, he worked in Beirut for several years as a graphic designer in print and web design. He is an independent type and graphic designer since August 2006 and he is currently a part-time instructor teaching graphic design and typography courses at AUB (American University of Beirut) and NDU (Notre Dame University).

visit his website 29letters http://29letters.com/new/files/profile.php to know more about this Arabic typefaces and typographic work, and if you are interested in reading about Arabic typography visit this blog http://29letters.wordpress.com/.

Author: "29letters@85.195.137.195"
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Date: Friday, 21 Sep 2007 20:30

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.”

Author: "carolinade@66.245.0.54"
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Date: Friday, 21 Sep 2007 20:29

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

Author: "carolinade@66.245.0.54"
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Date: Friday, 21 Sep 2007 20:22

====== 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 [[http://www.researchstudios.com | 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 ===== [[http://www.amazon.com/exec/obidos/ASIN/0789306530/uc-20|The Graphic Language of Neville Brody]] by Jon Wozencroft\\ [[http://www.amazon.com/exec/obidos/ASIN/1904772420/uc-20|100 Years of Magazine Covers]] by Neville Brody\\

Author: "carolinade@66.245.0.54"
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Date: Friday, 21 Sep 2007 20:05

====== == Wolfgang Weingart== ====== {{http://www.thedesignencyclopedia.org/images/weingart-wolfgang.jpg?175}}\\ {{http://www.thedesignencyclopedia.org/images/all_chrnological_divider.jpg}}\\ {{http://www.thedesignencyclopedia.org/images/all_chrnological_divider.jpg}}\\ **1941:** Birth {{http://www.thedesignencyclopedia.org/images/all_chrnological_divider.jpg}}\\ **1958:** Enrolled at Merz Academy in Stuttgart, Germany. {{http://www.thedesignencyclopedia.org/images/all_chrnological_divider.jpg}}\\ **1960:** Graduated from Merz Academy, and began a three-year apprenticeship at Ruwe Printing. {{http://www.thedesignencyclopedia.org/images/all_chrnological_divider.jpg}}\\ **1964:** Encouraged by his apprenticeship mentor [[Karl-August Hanke]], Weingart joined the [[Basel School of Design]] in Switzerland. {{http://www.thedesignencyclopedia.org/images/all_chrnological_divider.jpg}}\\ **1968:** Joined the Advanced Class of Graphic Design faculty at Basel. {{http://www.thedesignencyclopedia.org/images/all_chrnological_divider.jpg}}\\ **2001:** Weingart published his book //Wolfgang Weingart: My Way to Typography//.\\ {{http://www.thedesignencyclopedia.org/images/typo_cover.gif?175}} ==== Sample Work ==== {{http://www.thedesignencyclopedia.org/images/Wolfgang_Weingart_UCLA.jpg?175}}\\ == 1998: University of California at Los Angeles catalog == {{http://www.thedesignencyclopedia.org/images/weinpg_468.jpg?175}}\\ == 1980-1981: Worldformat //18th Didacta/Eurodidac// poster for the Convention on Teaching Aids == {{http://www.thedesignencyclopedia.org/images/weinpg_484.jpg?175}}\\ == 1977: //Worldformat Kunstkredit Basel 1976-1977// poster for the City Organization in Support of the Arts == === Quote === //“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.”// ===== Link ===== [[http://www.weingartarchive.com/|Archive-Weingart]]\\ [[http://basics.sfgbasel.ch/home.htm|Basics in Design and Typography]] ===== Related Links ===== [[http://en.wikipedia.org/wiki/Wolfgang_Weingart|Biography]]\\ [[http://www.aiga.org/content.cfm/wolfgang-weingart-making-the-young-generation-nuts|Wolfgang Weingart: Making the Young Generation Nuts]] by Steven Heller\\ [[http://www.moma.org/collection/browse_results.php?criteria=O%3AAD%3AE%3A6289&page_number=1&template_id=6&sort_order=1|The MoMA Collection]]\\ [[http://www.keithtam.net/writings/ww/ww.html|Wolfgang Weingart’s Typographic Landscape]] by Keith Tam\\ [[http://www.itcfonts.com/Ulc/2542/BookRevRoadTaken.htm|The Road Taken]] by Paul Shaw ===== Books ===== [[http://www.amazon.com/Wolfgang-Weingart-My-Way-Typography/dp/390704486X/uc-20|Wolfgang Weingart: My Way to Typography]]\\ [[http://www.amazon.com/typography-instruction-School-Switzerland-quarterly/dp/B00070NLOU/uc-20|My typography instruction at the Basle School of Design / Switzerland, 1968 to 1985]]\\ [[http://www.amazon.com/Weingart-Typography-Wege-zur-Typografie/dp/3816917879/uc-20|Weingart: Typography - Wege zur Typografie]]

Author: "carolinade@66.245.0.54"
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