Journal Action

Paula Scher does a lot of work with typography and her clients are often small theatres in big cities. She creates posters that use type in new and interesting ways, making the type almost replicate the sound of the show the poster is advertising. She says she came to find this as her style, a very non-traditional style, because her teacher told her to draw type instead of using perfect, printed versions of type, like Helvetica. She has created many very recognizable logos through her unusual way of thinking, however, her type work seems to be her strongest.

Question 1: Do you feel you would have much success using only standardized typefaces, or do you rely on having hand-made or non-traditional type?

Question 2: What limitations do you find exist working primarily with typography as opposed to graphics?

David Carson is another designer that plays with type a greal deal. his style is characterized by a copious use of negative space and a distinct need to be different from everyone else. His work is very unique and unorthodox. His lack of formal training is the source of this unorthadox style and he believes it to be his strength. While he doesn't try to make his work ugly or hard to read, he isn't going to sacrifice his design for the reader's sake.

Question 1: Have you had to deal with angry editors or subscribers who are unable to understand your text?

Question 2: Form or Function?

Mark Romanek is a videographer who specializes in music videos for popular musicians. He begins his interview by talking about his inspirations and what he finds intriguing as an artist. He has worked with Beck, Red Hot Chili Peppers, Johnny Cash and many others. His goal as a videographer is to create scenes that are realistic and really puts the viewer in the video. His attention to the most minute details is the key to his success as an artist.

Question 1: Which musician or band was the most difficult to work with?

Question 2: Which genre of music is easiest to work with?

DEBBIE MILLMAN-DesignMatters-STEFAN SAGMEISTER

According to designobserver.com, Debbie Millman is "a partner and president of the design division at Sterling Brands, one of the leading brand identity firms in the country. Millman is president of AIGA, and chair of the School of Visual Arts’ master’s program in Branding. She is a contributing editor to Print magazine and host of the podcast “Design Matters.” She is the author of How To Think Like A Great Graphic Designer (Allworth Press, 2007), The Essential Principles of Graphic Design (Rotovision, 2008) and Look Both Ways: Illustrated Essays on the Intersection of Life and Design (How Books, 2009)."

She interviews people and also talks about herself as she navigates the world of design. She seems o have many connections and has had many interviews with the best and brightest of the design world. She also talks a lot on her web site about love, life and design, which are probably the most controversial topics one could pick.

Design Matters keeps track of interesting design trends and the people behind those trends. Design Matters puts the designers and the public together with interesting interviews. The topics are interesting and on the edge of design.

The interview with Stefan Sagmeister from 6.29.05 (which is my friend's birthday, I think he turned 19 that year). Fresh in Debbie Millman's mind was the iconic "writing on flesh" body modification thing Sagmeister did and somewhat defines his very different style. The dichotomy of the generic American accent of Millman and Sagmeister's Schwarzenegger-esque Austrian accent creates a feeling that I'm listening to two different conversations that were cut in half and randomly pasted together. I think the interviewer and the interviewee are in different places. Physically and intellectually (the interview took place over a phone and the quality reflects this). We can appreciate how much has changed since that far off date of June '05. Things are not as simple, Sagmeister is older and Millman is using more makeup.

The focus of the conversation really is about how work and life intersect and how the importance of work in our life changes. For instance, when and how do you check your email? How important is that in your day? Should you check from correspondence from your clients as soon as you regain consciousness or should you take time for yourself or other people first, then look at the email?

The way we handle work and life can also impact the quality of our design, and it is important to be happy, which means work and play. Not just work.

Additionally, the interviewer talks about how Sagmeister found work and how he gets his name out there. That part was cut out by a commercial. So we will never know.

BLOG # 9

GOOD IS getting to know things without being stupid and hurting the world around you. How can this relate to type? Well, basically, the thing about design being there and doing what needs done and not caving to typographic stereotypes. What good is that going to do? Good question, we're going to change the world by the qualities of good type: Efficient, Accessible, Informative, Regulated und sofort. Why can't we do this elsewhere? Because type lives in a world of its own, we can make typography anything we want with a keystroke but we can't save the starving children of Uganda by pressing the "*" key. But what we can do with typography is immobilize the lethargic and categorize the misdeeds of the upper class in a stylish and provocative manner. What can type do to manufacture kindness? Nothing, really, but what can prayer do to cure disease? The same. So the what we can do is the power of positive thinking. What can be done here can be done there and what can't be done at all can be done tomorrow. Throw the disbelievers into the fire of our steam engines and full speed ahead.

Journal STUFF

What Font Could Be Better Than Futura?

As san serif fonts go, Futura is rather remarkable in its adaptability and sleekness. I would probably suggest something safe like Gotham because its generally good and in a few ways could be better than Futura. Its newer yet still retains a nice traditional style that lends it a sense of credibility.

Thirteen Ways of Looking at a Typeface

What do we do in a world with a million typefaces? It's astonishing that we have done this to ourselves. Having to pick from this cacophony of typeface is a job in itself. We can simplify this process a bit by using a system to help pick out our fonts and help ensure our survival in a world with more fonts than projects. What follows from there is a list of different decision techniques. Some of them are good and some are less than helpful: But the point Michael Beirut makes is something with which I can completely relate.