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Posts Tagged ‘AIGA Medal’

Art-Nouveau Feeder Fetishist

Tuesday, February 21st, 2012

Herb Lubalin

What I want to talk about here is fat. Not “phat” fat, but fat fat. Everyone is concerned about the country getting fatter. But what happened to typography and shapes in the late 1960s and 1970s? They got fat. I understand the issue of anti-consumerism. Coming from an anti-establishment counter-culture environment in the 1960s, companies needed to make messages and products “big.” Bigger was better, and if it could also be in earth colors and look natural, even better. If I actually purchased an item, rather than making it on my loom at home with macramé, I wanted to know I was getting my money’s worth. So we see fat logos, wide lapels and ties, big shirt collars, bell bottoms, and giant brown cars.

I am ashamed to admit this, but I like fat Victorian shapes. It’s as if the Garamond and curly shapes ate too many French fries and went from delicate to, well, very, very healthy. All the years of praising refined letterforms and deriding bold serifs have led to this shameful admission. Granted, in the hands of a master such as Herb Lubalin or Tom Carnase, the results are spectacular. But, when abused by someone less adroit, the result is clunky, horsey, and vomitous (yes this is now a word when discussing ugly typography). I hope this post will prove my veracity and commitment to the truth. We only tell the truth here, at any cost. This admission will, no doubt, ruin any chances of ever receiving an AIGA medal, being invited to join AGI, or being spoken to by any of my friends. So be kind when you find me at a conference sitting alone as other designers point and whisper, “Oh, yes, it’s true. He has a secret thing for the chunky type.”

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Tags:AIGA Medal, Herb Lubalin, Tom Carnase, Typography
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Nitsche Didn’t Say, “Design Gods are Dead”

Friday, April 8th, 2011

Steve Frykholm, AIGA Medal 2010

There’s been an ongoing debate for a few years regarding design heroes. Some say the younger generation no longer needs or wants heroes, others argue that heroes are a vital part of our design experience. Personally, I cannot imagine my career without the inspiration and guidance of so many “hero” designers. In school, I looked at their work and tried to understand how they made something, and what I could take from that knowledge. When I graduated I followed the career paths already blazed by these designers. When we started AdamsMorioka, I turned to them for support and advice. Today, I show their work to my students. I do this, not so they can copy someone, but to show them different ways of thinking and making. I have never taught a class when someone did not say, “I never knew. I never thought about it that way.”

Last night, I went to the AIGA Bright Lights event. This was previously the AIGA Design Legends Gala, but it was renamed this year. Brian Collins pointed out to me that Design Legends Evening sounded like a drag show in Las Vegas. Jennifer Morla, Steve Frykholm, and John Maeda were honored with the AIGA Medal. This event has always been like the best high school reunion you can imagine. It’s as if every single great friend you’ve had is in the same room. This is also a time when we celebrate and recognize the achievements in our profession. This may seem frivolous, insular, and self-congratulatory, but it isn’t. It’s vital that we support and celebrate one another. It elevates all of us and maintains our commitment to excellence and generosity.

I don’t want to live in a world where there are no heroes, where all designers have been deemed ordinary. What we do is a remarkable gift, unique to each of us. I want to look at someone’s work and be humbled. I want to be at an event and feel awkward meeting a famous designer. We need heroes for ourselves and for those outside our profession. Some are saying there are no heroes, that this is an idea of the past. But they simply do not know where to look.