Posts Tagged ‘graphic design’
June 25, 2015 | by Dan Piepenbring
- Looking for good summer reading? Our editor, Lorin Stein, went on NPR’s On Point to discuss the season’s best books.
- Between 1935 and the early forties, the WPA issued some two million silkscreened posters. Whatever their subjects and intentions—some were public health initiatives, others supported the parks, and others still were straight-up propaganda—the posters, in their ubiquity, had a profound effect on graphic design and commercial art. “The surge of interest in new typographical design and the influence of the WPA Poster Project’s supervisor, Richard Floethe, had a dynamic effect on the project designers. Floethe had studied at the Bauhaus and genuinely believed in a utilitarian approach to art. The designer, he felt, should be equally at home in industrial design, stage design, typography or painting. Good visual thinking could be applied to any discipline.”
- If there’s one thing unifying the work Astrid Lindgren, it’s her “affection for the defiant self-possession of some children”: “There is a manuscript scholars call the ‘Ur-Pippi,’ the first draft of the Pippi Longstocking stories that Lindgren, then a young mother, wrote in the 1940s. The original Pippi was more truly a classic trickster … In order to tame that Pippi slightly for public consumption, Lindgren’s publisher persuaded her to tone the story down … For example, Pippi actually apologizes to the schoolteacher she has defied and does not, in her madcap rescue of children from a burning building, accidentally-on-purpose smash a chamber pot (as she did in the draft).”
- Fun fact: our Southern editor, John Jeremiah Sullivan, is in a band. They’re called Life of Saturdays. We hadn’t known this until earlier today, when we found a review of their debut album So How We Seem in the Wilmington Star News: “Sullivan’s distinctive vocals, which range from a pretty falsetto to a throaty wail, take center stage on rock anthem ‘American Boy.’ Whether it's about the immaturity of the American male, U.S. imperialism or something else is hard to figure, but nothing can mask the awesomeness of the line, ‘Set my phasers on joy / Because I am an American boy.’”
- Loot, nirvana, pajamas, shampoo, shawl, bungalow, jungle, pundit, thug … how did these and other Indian words come to enter the English language? For clues, look to Hobson-Jobson: The Definitive Glossary of British India, first published in 1886.
January 27, 2015 | by Dan Piepenbring
- From the department of own-horn-tooting: Looking for something to read today? Try The Paris Review. But you didn’t hear it from us: “One thing I’d like to have on my blanketed lap today,” Dwight Garner wrote, “is the new issue of The Paris Review. That journal has found its mojo, in a big way … The new one has among other things a warm and wise interview with the memoirist and essayist Vivian Gornick that’s worth the price of admission alone.”
- India’s Jaipur Literary Festival is advertised as the largest free literary festival in the world. “This year it attracted an estimated 80,000. And on the fourth day, with 20,000 packed into the disorderly old palace complex where it is held, and the queues for entry still growing, the police abruptly closed the gates. They feared a stampede was coming. But who were these people? And what were they coming for?”
- A new book looks at midcentury graphic design in California, which had a sensibility and influence all its own: “Fuck New York. Fuck Europe. We’ll figure out what art is.”
- Whither the ukulele? It began its life as a piece of exotica and then, in the hands of Tiny Tim, descended promptly into kitsch—but some say it’s enjoying a revival. “The ukulele still plays its role as everyman instrument quite convincingly.”
- Today in people who are wrong: “Today’s minor arts, I think, include theater, ballet, opera, symphonic music, and literary fiction. These still include small audiences whose members are not also creators, audiences who patronize these arts in part out of an inherited feeling that these are superior to movies or genre fiction … The literary novel, too, may be on its way to losing its minor art status and becoming a pure hobby.”
November 15, 2014 | by Charlotte Strick
A husband-and-wife team and their influential midcentury designs.
Lucky is the designer who can see in both two and three dimensions. Luckier still is she or he to be married to someone with equal gifts—especially if that mate is a collaborator and not a competitor. So appears to have been the case with Dorothy and Otis Shepard, whose enviable creative lives have been captured in the absorbing, moving, and lushly illustrated new book Dorothy and Otis: Designing the American Dream, by Norman Hathaway and Dan Nadel.
Both Dorothy and Shep (his nickname since childhood) got their start as commercial artists during San Francisco’s billboard boom of the 1920s. The Federal Highway Act, signed in 1921, helped fund the expansion of U.S. roadways, and advertisers took the opportunity to reach audiences beyond the traditional black-and-white pages of mail catalogs by posting colorful advertisements along America’s highways. Shep, a veteran of World War I, was a man of great adventure, with a strong and lasting interest in the theater. He was well regarded as a commercial painter while employed as an art director at Foster & Kleiser Outdoor Advertising Company, a top Bay Area agency of the period. In 1927, he wisely hired the gifted and highly praised Dorothy Van Gorder straight out of the California School of Arts and Crafts, from which she had graduated in only three years, as valedictorian. According to family lore, Dorothy was unabashedly outspoken (and just plain unabashed—she was once evicted from an apartment for sunbathing nude on the roof), and it cost her the Foster & Kleiser job, but almost as soon as she was let go, she was rehired for her prized skills. Hathaway and Nadel write that either in spite of or because of Dorothy’s brashness, Shep, the “raconteur,” soon began courting the “young bon vivant.”
And so their joint artistic adventure began—most markedly with a honeymoon in 1929 to Paris, Venice, Zurich, and Vienna. While there, they purchased Bauhaus furniture and had the good fortune to meet the great modernist Joseph Binder, who was a leader in the European abstract graphic style. “Shep and Dorothy already wanted their work to convey meaning through compositional structure—instead of realism,” write Hathaway and Nadel, but Binder’s reduction of “an image to a series of shapes and forms and [integration of] typography into his pictures” helped refine their approach to design and illustration. Both Dorothy and Otis had been following the modernist movement with great interest back home, but seeing this work and the new techniques in person and to scale had a profound and lasting effect on them. Read More »
August 7, 2012 | by Sadie Stein
March 11, 2011 | by Thessaly La Force
Our wonderful art editor Charlotte Strick took some time to talk to The Atlantic about her work as a graphic designer:
What’s a design trend that you wish would go away?
It’s not so much a design “trend”: the lack of quality in trade book publishing. Because of the rising costs of printing, many publishers are now using thinner paper stocks for book interiors. The paper feels cheap and there's more "show through" of the text from the previous page. Those of you who still enjoy holding a good old-fashioned book in your hands will know what I'm talking about. You really can feel the difference.
What’s an idea you became fascinated with but that ended up taking you off track?
Do ex-boyfriends count?
I’d say so! Read the rest of Charlotte’s interview here.