[Tom Biederbeck] The dimensions of Saul Bass’ achievements — in movies, marketing, identity, publications, all of graphic design — are on display in Saul Bass: A Life in Film & Design, the new book by Pat Kirkham (text) and Jennifer Bass (design). With its wealth of biographical detail and lavish images, over 1400, many never before published, it’s that rare design book that deserves a place on the shelf of anyone interested in the subject. We spoke with Kirkham about Bass, his wife Elaine, their work … and how to portray a giant in 20th-century visual communication.
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[Alyson Kuhn] The 26 posters from Getting Upper, the 2011 exhibition curated by Amos Klausner for the Pasadena Museum of California Art, are also an A–Z of the art of screen printing. The limited-edition suite is our current collection on Felt & Wire Shop (at a rather sweet price per letter). We asked Nat Swope of Bloom Press, who printed the project, to enlighten us about the art of screen printing on paper. Furthermore >
02.20.12
[Sami Jensen] Last month, we introduced you to Tradeshow Bootcamp and a few of its alumni. Today, with only two weeks until the Spring Teleconference Series begins, we share some of the brains behind the Bootcamp. These instructors, past and present, provide expertise in marketing, booth design, networking, and everything else you need to know about exhibiting at a trade show. Furthermore >
02.17.12
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Doyald Young, 1926–2011 We are deeply saddened by the death of Doyald Young, whose gifts in calligraphy, typography and logo design were legendary. Born in 1926, Young was a self-taught artist celebrated for his brilliant letterforms. His kindness and counsel were treasured by all who knew him, and his generosity of spirit will not be forgotten.
We will be offering a more complete appreciation of Doyald Young and his career in days to come. For now, see these links: • An essay about Young by Marian Bantjes on the occasion of his being awarded the 2009 AIGA medal. Photo by Louise Sandhaus
03.1.11
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Doyald’s contributions to our fundamental understandings OF (rather than merely about) how to engage in decision-making processes involving typographic design have been and will continue to be profound. His approaches to designing, as articulated in his books and in his interactions with students, account for the utilization of an incredibly diverse array of intelligences, bases of knowledge, and iterative methods. More simply put, his approaches advocated for and incorporated the application of close, critical observation and reflexivity and not-so-common common sense.
We had the privilege of having him work with our com design students here at UNT twice, and both instances were quietly amazing for all of us who were lucky enough to be involved.