Paula Scher is a luminary of contemporary American graphic design. She began her working life at Atlantic and CBS Records designing album covers. Much of her work from this period has passed into pop culture cosmology. Later she ran her own studio in partnership with the designer Terry Koppel. But it is her work as a Pentagram partner that forms her most enduring legacy.

The annual sailing regatta in the northern German town of Kiel dates back to 1882. It is now the world’s largest event of its kind, always taking place in the second week of June. Both World Wars interrupted the series; there were no Kieler Wochen organized in the years 1914–18 and 1940–46.

On 10 May 2006, students, lecturers and design professionals from all states of Australia and from New Zealand, Taiwan, Korea, Thailand, Abu Dhabi, the United Kingdom, Mexico and the USA, descended upon Melbourne’s premier art centre for the AGIdeas International Design Week 2006.

Lesson 1: Irony

Having taught graphic design (typography and senior portfolio) at The School of Visual Arts in New York for 23 continuous years, I will, for the first time, take a year off from teaching. The first official act of my sabbatical is to write this essay on education.

After 500 years of practically unchanging techniques for cutting the matrix for hot type, technical changes over the last twenty years or so in particular have radically transformed the ways and means of shaping, producing and distributing script.

They had already been really good mates for a long time. Personal friends but, more than anything, friends in graphic art.

In 1995, Cross-Cultural Design: Communicating in the Global Marketplace was the first book to anthologize what Ken Haas and I saw as a growing design phenomenon: the achievements of designers working in cultures other than their own, along with a useful vocabulary for this new discipline.

Stamps are just small prints with neat perforated edges and there‘s no mystique about designing them. The ones I like best look simple, but this is deceptive: their few square centimetres can be a battleground.

This is an understatement: ‘Alan Fletcher’s humour was special.’

In 1978, I wrote an article in a publication entitled About Art, on designing for a museum. That was during the 1964 to 1985 period, when I was designing posters and catalogues for Amsterdam’s Stedelijk Museum. Now, thirty years on, it is tempting to see whether the views that were then sacred to me still hold strong. Or are they long past their sell-by date?

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