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75selections
from the
AIGA Design Archives
Sappi presents
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Design, just as art, has multiple denitions; there is no single denition.Design can be art. Design can be aesthetics.
Design is so simple, that’s why it is so complicated.
Paul Rand
Sappi is a long-standing partner o AIGA . From creating the rst nationalsponsorship with AIGA and expand-
ing our Ideas that Matter program,to sponsoring @Issue and Icograda,
Sappi actively supports the graphicdesign industry worldwide. We know
that good design is good business. And, as a true champion o print com-
munications, Sappi will continue tomake sure that print, as a medium,
remains innovative, vital and ull o
endless possibilities.
Mark Gardner
President and CEO Sappi Fine Paper North America
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Design is a wonder o human
perspective: at once, it capturesthe past, expresses the visual cul-
ture o the moment and, at its best,imagines the uture. When
a membership organization suchas AIGA sets its priorities, it inevi-
tably looks at the needs o itscurrent members, both through
the challenges they ace todayand in anticipation o how it can
contribute to their relevance and
success tomorrow.Like the practice o design itsel, AIGA is an enduring institution.It is nearly a century old and is
as vital today as it has ever been.While this vitality is due to its
adaptability, AIGA’s longevityalso signals its important role in
continuity, validation anddiscovery or the proession.
Ironically, the role o discovery
depends not upon a view towardthe uture so much as a respect
or the past. In design, historyis clearly the prologue, and visual
history provides a orm o criticalmentorship or the creative pro-
cess. AIGA , through its long-standingcompetitions and activities, has
captured the contemporary expres-sion o communication design.
In recent years, a high priority has
been making this visual record asaccessible, and as well protected,as possible.
The AIGA Design Archives pur-
sues this goal in a variety o ways.Since 1980, AIGA has produced
an annual publication documenting AIGA ’s activities and competitions.
All o the physical artiacts selectedin these competitions are now
a permanent part o the Denver ArtMuseum collection, with a dedicat-
ed AIGA curator. This collection will
be available or study and exhibi-
tion and will grow by approximately300 examples a year.
AIGA ’s book design and book cover
competition has the longest history,dating back 84 years. Most all o
the selections rom this competitionare also available in the Butler Library,
Rare Books and Manuscripts collec-tion at Columbia University.
The online AIGA Design Archives,
at designarchives.aiga.org, aimsto be an exhaustive database o
communication design. Already, itis seen as the denitive research
resource on American design,the largest collection o communi-
cation design in the world and theonly one that is contemporaneous-
ly judged by preeminent peers.
Foreword
Richard GreéAIGA Executive Director
2
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It contains all o the competition
selections since 1979 and is now,with support rom the National
Endowment or the Arts, beingexpanded to include all visual
materials available in AIGA ’s insti-tutional archives dating back to
the association’s origins in 1914. AIGA has also begun a process
o using the database to publishthe digital archives o major U.S.
design rms and practitioners
whose digital record o designaccomplishments might other-wise not be preserved.
AIGA is delighted to be able to
play the important role o docu-menting design history, not only or
those whose work is eatured, butalso or the coming generations
who will use this resource to dis-cover inspiration rom the past.
We welcome the involvement o
designers, individuals and com-panies in helping to preserve this
valuable resource and demonstra-tion o the remarkable legacy o the
creative spirit. I you would like tosupport this endeavor to protect and
promote the strength and beautyo this shared heritage, please
contact [email protected] call 212.807.1990.
Richard Greé AIGA Executive Director
The Frederic C. Hamilton Buildingo the Denver Art MuseumHome o the AIGA Design Archives
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competition selections rom all years since1980. It is meant as a powerul educational tool
or the broadest possible audience. Viewers areable to create light boxes o images, annotatethem or reerence and share them with others—designers, clients, educators and students. The
online Design Archives is expanding to includeselections rom1914 through1980 and to assem-ble the digital archives o collections o medalistsand prominent designers o the 20th century.
Visit the AIGA Design Archives online at: designarchives.aiga.org.
The
AIGA
Design
Archives
6
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As a proession, we are not veryold. Fity years ago, we carried the
label o paste-up or layout artists.For a time, we were commercial
artists. But in that short history, we
graduated rom the connes othose dark oces to having “a placeat the table.” This achievement
testies to the energy, talent, andperseverance o the individuals
in the design proession. AIGA hasmirrored this evolution. At times, AIGA orged the path into unamil-iar and daunting territory. Othertimes, it ollowed a sole designer
or group as they discovered newrealms. The artiacts in this book,
rom the Design Archives o AIGA ,provide concrete examples o
this progress.
Today, AIGA encompasses everyconceivable medium we use to
communicate our ideas—and alltypes o designers, both in attitude
and practice. The content o this
book makes clear that thingsdon’t just happen; they are madeto happen.
Sean Adams
AIGA President
Introduction
Sean Adams
AIGA President
8
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Selections
rom the
AIGA
Design
Archives
10
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80 80 8180 81
86 86 8686 87
83 83 8483 85
81 82 8282 82
87 88 8989 89
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McCoy & McCoy Associates
Katherine McCoy
Cranbrook Architecture 1979/80
Cranbrook Academy o Art
1980
14
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The Metropolitan Museum o Art
brand and identity systems designThe Metropolitan Museum o Art
Rudolph de Harak & Associates
Rudolph de Harak
1980
16
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S mmerord Design Inc Hel etica
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Summerord Design Inc.
Jack SummerordHelveticaTypographics
1980
18
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CBS Records Design Dept The Best o
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CBS Records Design Dept.
Paula ScherThe Best o…CBS Records
1981
20
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Lubalin, Peckolick Assoc., Inc. Upper and lower case,
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, ,
Herb Lubalin
Jason Calo
pp ,
Vol. 6, No. 4
International Typeace Corp.
1981
22
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April Greiman Cal Arts View
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Caliornia Institute o the Arts
1981
24
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Doyle Dane Bernbach
G G ld ith A to BV lk
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Gary Goldsmith Volkswagen
1982
26
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Anspach Grossman Portugal, Inc.
Kenneth D LoveTexaco identityTexaco USA
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Kenneth D. Love
Richard Felton Don Klein
Texaco, USA
1982
28
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Vignelli Associates
Massimo VignelliThe Audubon Society Field Guidesto North America: Butterfies
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Massimo Vignelli to North America: Butterfies
Alred A. Knop, Inc.,Chanticleer Press
1982
30
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Pushpin Studios, Inc.
Seymour ChwastThe Writer’s New York CitySource Book
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y
Toshiaki Ide New York City Departmento Cultural Aairs
1982
32
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Milton Glaser, Inc.
Milton GlaserMostly Mozart FestivalLincoln Center
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Lincoln Center orthe Perorming Arts
1983
34
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Chermaye & Geismar
Ivan ChermayeWinston Churchill:The Wilderness Years
M bil M t i Th t
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Mobil Masterpiece Theatre
1983
36
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Pirtle Design
Woody PirtleHot SeatKnoll International
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1983
38
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John Massey, Inc.
John Massey
Jim Cross
ConnectionsSimpson Paper Co.
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J C oss
1984
40
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Sussman/Prejza & Co., Inc.
The Jerde Partnership
Deborah Sussman
Los Angeles OlympicsLos Angeles Olympic
Organizing Committee
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Doron Gazit
1985
42
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Paul Davis Studio
Paul Davis Adventures o Sherlock HolmesMobil Corp.
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1986
44
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Herman Miller, Inc.
Stephen FrykholmSay Hello to the Owners 1985 Annual Report
Herman Miller, Inc.
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1986
46
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Brigham Young
University Graphics
McRay Magleby
Peace WaveShoshin Society
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1986
48
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Paul Rand Paul Rand: A Designer’s Art
Yale University Press
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1986
50
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The Duy Design Group
Charles S. AndersonClassico Pasta Sauce identityPrince Food
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1987
52
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Pentagram
Kit Hinrichs
Lenore Bartz
Art Center Review,
September 1987
Art Center College o Design
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1987
54
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M&Co.
Tibor KalmanRestaurant Florent/NovemberRestaurant Florent
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1988
56
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Paul Rand NeXT identityNeXT, Inc.
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1989
58
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Bradbury Thompson Bradbury Thompson:
The Art of Graphic Design
Yale University Press
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1989
60
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Vanderbyl Design
Michael VanderbylEsprit Show and AccessoriesShowroom/New York
Esprit
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1989
62
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Selections
rom the
AIGA
Design
Archives
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64
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90 91 9292 92
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96 96 9696 97
94 94 9594 95
93 93 9493 94
98 98 9999 99
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Chris Pullman AIGA/Boston chapter posters AIGA/Boston
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1990
68
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Pentagram
Michael Gericke ADC/NY International PosterExhibition Call or Entries
Art Directors Club o New York
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1991
70
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Morla Design
Jennier Morla
Sharrie Brooks
San Francisco International Airport1992 Annual Report
San Francisco International Airport
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1992
72
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Chermaye & Geismar
Ste GeissbuhlerTime Warner identityTime Warner
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1992
74
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Charles S. Anderson
Design Company
Charles S. AndersonTodd Hauswirth
AIGA/Los Angeles poster AIGA/Los Angeles
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1992
76
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Skolos/Wedell
Nancy Skolos
Tom Wedell
Ferrington Guitars
HarperCollins/Callaway Editions
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1993
78
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Tolleson Design
Steven Tolleson
Mark Winn
Radius 1993 Annual ReportRadius
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1993
80
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Bielenberg Design
John Bielenberg
Virtual Telemetrix
1993 Annual Report Virtual Telemetrix
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1993
82
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Rolling Stone Magazine
Fred WoodwardDebra Bishop
“The Hot List”
Rolling Stone Magazine
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1994
84
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Modern Dog
Vittorio Costarella
Douglas Hughes
Heartbreak House posterSeattle Repertory Theatre
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1994
86
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Art Chantry Design
Art Chantry
Coco ShinomiyaJe Kleinsmith
“No Future” posterRhino Records
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1994
88
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Bass/Yager & Associates
Saul Bass
Elaine Bass
The Age of Innocence ( main title )
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1994
90
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Landor Associates
Lyndon Leader
Wally Krantz, Jr. John Lutz
Bill Chiarava-lle
FedEx identityFederal Express
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1994
92
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Wieden+Kennedy
Todd WaterburyOK CansThe Coca-Cola Company
1995
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1995
94
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AdamsMorioka
Sean Adams
Noreen Morioka
“Censorship and Silencing”The Getty Center or the History
o Art and the Humanities
1995
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1995
96
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R/Greenberg Associates, Inc.
Kyle Cooper
Jennier Shainin
Seven ( main titles )New Line Cinema
1996
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1996
98
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Duy & Partners Joe Duy
Sharon Werner
Jim Beam Small BatchJames B. Beam Distilling Co.
1996
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1996
100
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Pentagram Paula Scher
The Public Theater New YorkShakespeare Festival 1996 poster
The Joseph Papp Public Theater
1996
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1996
102
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Access Factory Inc. Alexander Gelman
Poetry Readings posterBiblio’s
1996
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1996
104
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Bruce Mau Design Bruce Mau
S, M, L, XLThe Monacelli Press
1997
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1997
106
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Haley Johnson Design Co. Haley Johnson
Literacy poster AIGA/Colorado
1998
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1998
108
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Sagmeister Inc. Stean Sagmeister
Jambalaya: AIGA NationalDesign Conerence poster AIGA
1998
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110
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James Victore, Inc.James Victore
“Disney Go Home” posterTimes Square, NY
(Unocial Client)
1999
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112
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SamataMason Dave Mason
Pamela Lee
Swiss Army Brands, Inc. 1999 Annual Report
Swiss Army Brands, Inc.
1999
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114
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1999
Pentagram Michael Bierut
Tibor KalmanMichael English
Tibor Kalman: Perverse Optimist Princeton Architectural Press
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116
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Selectionsrom the
AIGA
Design
Archives
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118
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00 01 0101 01
01 01 0101 03
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05 05 0606 06
03 04 0404 05
01 01 0101 03
06 06 0606 06120
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Cahan & Associates Bill Cahan
Bob Dinetz
Aspect Communications2000 Annual Report
Aspect Communications
2000
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122
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Maeda StudioJohn Maeda
Maeda @ Media
2001
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124
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Alred A. Knop PublishersChip Kidd
Chris Ware
Jimmy Corrigan:The Smartest Kid on Earth
2001
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126
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Oce o Paul Sahre Paul Sahre Demonology Little, Brown and Company
2001
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130
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2x4
Michael Rock
Conny Purtill Deb Wood*
Parallax *Princeton Architectural Press
2001
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132
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Number 17
Emily Oberman
Bonnie Siegler
Saturday Night Live ( titles )
NBC
2001
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134
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R/GA
Vincent LacavaUnderstanding USA websiteRichard Saul Wurman
2001
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136
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PMH
Dave Peterson
Minda Gralnek*
Target “Sign o the Times”Spring TV ad
*Target Corporation
2001
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138
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Motion Theory
Steve Luker
John Norman Steve Simpson
Hewlett-Packard anthemHewlett-Packard Company
2003
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140
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Jack Stauacher Print Number 4 romThe Vico Collaboration portolio
2003
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142
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Pentagram
Abbott Miller Jeremy Homan
2wice “Animal” issue
2wice Arts Foundation
2004
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144
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Ralph Appelbaum Associates
Ralph Appelbaum
National Constitution
Center environmentNational Constitution Center
2004
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146
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Ogilvy & Mather
Brian Collins Weston Bingham
Sprite posters and
Times Square billboardThe Coca-Cola Company
2004
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148
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VSA Partners, Inc.
James Koval
Cingular identity
Cingular
2005
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150
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Hoefer & Frere-Jones
Jonathan Hoefer
Knox typeace
Hoefer & Frere-Jones
2005
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152
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The New York Times
Steve Duenes
Election maps
The New York Times
2005
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154
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Pentagram
Paula Scher Lisa Strauseld
Bloomberg L.P. environment
Bloomberg L.P.
2006
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156
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Nike, Inc.
Heather Amuny-Dey Adam Cohn Julie Freeman
National Teams custom typeaces
Nike Global Football
2006
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158
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Werner Design Werks, Inc.
Sharon Werner Sarah Nelson
10 Cane Rum
Moët Hennessy
2006
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160
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Target Corporation
Deborah Adler
Target ClearRx
Target Corporation
2006
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164
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R/GA
Richard Ting Marlon Hernandez Mike Reger
Shu Zheng Li
Nike Basketball—The Family
Nike, Inc.
2006
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166
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MTV Networks
Jerey Keyton Jim Debarros Stacy Drummond
MTV2 logo
MTV2
2006
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168
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Bruce Mau Design
Bruce Mau
Massive Change exhibition
2006
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170
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132 104 96
Access Factory Inc.
Specialists in interactive branding,
this Brooklyn-based studio hascreated user interace symbols
or Prodigy, a digital user interaceor AGFA , web banners or Casio,
a website or Mecca urban apparel,
and identity or Divon urniture They
2x4
Founded in 1994 by three Rhode
Island School o Design class-mates, 2x4 has worked, oten in
collaboration with architects, onprojects as diverse as textile and
wallpaper design or Knoll, envi-
ronments or Prada and packag
AdamsMorioka
Known or clean lines, clear colors,
and honest expressions o brandpersonality, Los Angeles-based
AdamsMorioka has brought theirparticularly sunlit, Southern
Caliornia orm o design to ABC,
Adobe Appleton Papers Disney
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and identity or Divon urniture. Theydescribe their work as “buildingdigital environments or immersive
brand experiences,” and precedeany design explorations—whether
or a web banner or wireless appli-cation—with thorough brand studies.
Other clients have included Apple,Bayer, J Walter Thompson, MTV,Seventeen magazine, Swatch,and Time Warner.
ronments or Prada, and packag-ing or Malin + Goetz unisex beautycare products. According to the
San Francisco MoMA , whichrecently eatured a solo exhibition
o their work, “New York-baseddesign rm 2x4 is credited with
helping to redene graphic designas one o the most inclusive andvisible design categories. 2x4’s
sophisticated approach empha-sizes critical thinking and research,
and its projects encompassvirtually all graphic media… The
studio’s design solutions are visu-
ally rewarding, employing richbut unexpected combinations oimage, color, and pattern in work
that is avant-garde yet rooted inthe context o its subject matter.”
Adobe, Appleton Papers, Disney,ESPN, Nickelodeon, Sundance,Mohawk Papers, USC, and VH1,
among others. The studio wasounded in 1994 by Sean Adams
and Noreen Morioka. San Fran-cisco MoMA , as part o a recent
exhibition, described their work as“Mixing modern abstraction withnostalgic images,” oering “graphic
design with wit, nostalgia, optimism,and a touch o good-humored
nar-cissism,” and “taking inspirationrom contemporary mass culture,”
while exploring “the world o
artice and the cult o personality.”
172
126 28 88
Alred A. Knop Publishers
This New York publishing house,
ounded in 1915, has a long historyo publishing notable ction and
nonction. Now part o the KnopPublishing Group at Random
House, Alred A . Knop is recog-
nized by its borzoi dog trademark
Anspach Grossman Portugal, Inc.
A worldwide branding rm known
or pioneering work in corporateidentity and naming, Anspach
Grossman Portugal, Inc. has hada ew name changes itsel since
its 1969 ounding; ollowing a 1996
merger o ve WPP companies into
Art Chantry Design
Art Chantry, based in Tacoma,
Washington, is most closelyasso-ciated with the posters and
album covers he has designed orthe bands rom the Pacic North-
west that dened the seminal Seat-
tle music scene including Nirvana
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nized by its borzoi dog trademark,dedication to great literature, andor attention to exceptional typog-
raphy and design. The publisherhas collaborated with a variety o
accomplished book designersand typographers. Chip Kidd has
worked or Knop or more than20 years, creating covers designedto engage and sell or writers such
as Martin Amis, Michael Crichton,James Ellroy, Cormac McCarthy,
David Sedaris, and John Updike,among others.
merger o ve WPP companies intoa single partnership, the companyhas been known as Enterprise IG.
From 22oces around the globe,the rm has worked with many multi-
national corporations on identityprojects such as Consolidated Food’s
change to Sara Lee Corporation,brand dierentiation or Del Monte,an overhaul o the Boots No 7
cosmetics line, and Libbey-Owens-Ford’s evolution to Trinova. In ad-
dition, they created and donatedthe logo or the World Trade Center
Memorial Foundation.
tle music scene, including Nirvana,Hole, and The Sonics. He otenused materials, rom type and
photography to illustration, whichhe appropriated rom newspapers,
sample books, cartoons, andother ound items that expressed
a unique vernacular. He has alsodesigned many notable logos andworked or a variety o social causes
and nonprot organizations. Hismonograph is titled Some People
Can’t Surf: The Graphic Design
of Art Chantry , and his work has
been exhibited rom the Rock and
Roll Hall o Fame to the Louvre.
4890 82
Brigham Young University
McRay Magleby was or many years
the creative director at BrighamYoung University, where he created
a peace poster to commemorate theatomic bomb attack on Hiroshima,
Japan. Magleby said o the poster
that he “wanted to make people
Bass/Yager & Associates
Saul Bass came to prominence
in the 1950s by creating symbolic,geometric, completely modern
and totally unorgettable lm titles,credit sequences and posterimages or now-classic lms like
The Man with the Golden Arm
Bielenberg Design
John Bielenberg is a partner and
coounder o C2 in Hal Moon Bay,Caliornia, a studio that’s “in the
business o helping companiesget their stories straight.” He alsoruns The Bielenberg Institute at the
Edge o the Earth in Belast Maine
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that he wanted to make peopleeel good, to eel that peace is some-thing worthwhile, something to
strive or.” While at Brigham Young,he and his sta produced a wide
variety o publications, books, andposters. He is now a proessor in
graphic design at the University oUtah and has worked on a varietyo design projects, including postage
stamps, stained glass windows,the Salt Lake City 2002 Olympiad
posters, and rugs sold through theSundance catalog and the Tibet
Rug Company.
The Man with the Golden Arm,Vertigo, and West Side Story . He
brought a similar sensibility tologo design, creating both the
amous bell and then the stripedsphere and globe symbols or AT&T, as well as identities or Dixie,Girl Scouts, Minolta, Quaker Oats,
United Airlines, the United Way andWarner Communications. More
recently, his rm worked on openingsequences or the movies Goodfellas,The Age of Innocence, and Casino.Saul Bass died in 1996.
Edge o the Earth in Belast, Maine,where he is ounder and director
o Project M, a summer programset up “to inspire young designers,
writers, photographers and lm-makers by proving that their work
can have a positive and signi-cant impact on the world.” Virtual
Telemetrix is a made-up companyBielenberg uses to create satirical
projects about the intersectiono design and corporations. Many
o his Virtual Telemetrix projectsare in the collection o the San
Francisco MoMA .
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Bruce Mau Design
Fast Company magazine reerred
to Bruce Mau Design as “a studioin the purest sense o the word…
an ongoing experiment in the bestway to design an organization orlong-term creative growth… In
terms o what kind o work Mau
Cahan & Associates
Cahan & Associates was ounded
by Bill Cahan, a ormer architect,in San Francisco in 1984, and
built a reputation by taking unusualand memorable risks within the
traditionally stodgy eld o annual
reports. For Adaptec, the rm
C&G Partners, Inc.
Chermaye & Geismar has, in
more than ty years o design work,created more than 100 corporate
symbols. “Our work starts rom theinormation to be conveyed,” IvanChermaye explains, “and only
then goes on to make the structure
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terms o what kind o work Maudoes, there are really no boundaries:BMD does book design, logos,store interiors, signage, landscapes,
lm, magazines, and museumexhibits.” Begun in Toronto in 1985
to design or Zone Books, the rm’sclients include the Andy Warhol
Museum, the Gagosian Gallery,Roots, Vitra, and still, Zone Books.
Mau was also creative director atI.D. magazine or two years and
began “Massive Change: the Futureo Global Design” in collaboration
with the Institute Without Borders,
whose most recent eort is the “WorldHouse Project,” which seeks to“design a sustaining, universal and
healthy human dwelling.”
reports. For Adaptec, the rmcreated an annual report in the ormo a children’s book; Heartport’s
annual report included die cutsrefecting the work o their surgical
instruments. The studio also oersstrategy, advertising, and branding
services or clients including HermanMiller, Genentech, Levi Strauss & Co., and Williams Sonoma, and has
been eatured on both CNN andCNBC. A recently released mono-
graph on their methods andinspirations is called, I Am Almost
Always Hungry .
then goes on to make the structuresubservient to that inormation or
make the structure a way to helpexpress the idea.” The rm is now
known as C&G Partners and hascreated identities or organizations
as diverse as Chase Manhattan,HarperCollins, NBC, Merck, Mobil,PBS, and Xerox, as well as notableexhibits or the New York Public
Library, Ellis Island and the Statueo Liberty. The Time Warner logo
was designed by Ste Geissbuhler,one o the three ounding members
o C&G Partners.
20 2676
CBS Records Design Dept.
Columbia Records, ormerly CBS
Records, is the oldest name inrecorded sound and was the rst
to produce prerecorded recordsinstead o blank cylinders. Foundedin 1888, it is now a subsidiary o
Sony BMG Music Entertainment.(CBS R d i ll d
Doyle Dane Bernbach
Founded in 1949 by three partners,
this multinational advertisingagency has grown to encompass
more than 200 oces in almost100 countries, and is now part othe Omnicom Group and known
as DDB Worldwide. The rm hasd d h h i
CSA
Established in 1989, Charles S.
Anderson Design’s signature stylerefects their tongue-in-cheek
sense o humor and love o kitschyculture. While it has created visual-ly arresting icons, packaging,
logos, posters, identity, advertising,d h T Ni
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y(CBS Records is now a small record
label producing music rom CBS Paramount Television shows.)
Columbia was known or signingthe best talent and leading music
trends with artists rom TonyBennett and Johnny Mathis, to
Bob Dylan, Janis Joplin, and Simonand Garunkel, as well as Bruce
Springsteen and Beyonce. PaulaScher designed album covers as
an art director at CBS or 10 years,then moved on to editorial design
in her own rm, Koppel & Scher,
beore becoming a partner atPentagram in 1991.
made ads that encompass the entire
range rom political controversy tocatchy jingles: or example, their
inamous “Daisy” ad eaturednuclear war scare tactics that were
credited with giving PresidentJohnson the win against Goldwater,
but they also created the unor-gettable McDonald’s jingle, “You
deserve a break today.” Currentclients include Anheuser-Busch,
Clorox, Egypt tourism, HasbroMonopoly, and Volkswagen. Bill
Bernbach remains one o the most
infuential, ot-quoted people inthe advertising industry.
g , p , y, g,and characters or Target, Nissan,
Pottery Barn, Urban Outtters,and Yahoo, among others, this
Minneapolis rm is perhaps bestknown or its work or French
Paper. In addition, CSA Images oersdesigners a collection o more
than 50,000 illustrations, artwork,images and onts that showcase
classic Americana. CSA also recentlylaunched Pop Ink, a company
that licenses these images or useon products like git wrap, note-
books, napkins, and plates, as
well as in thematically arrangedpicture books.
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Duy & Partners
Duy & Partners denes their core
competency as “Design that tellsa story.” Launched as Duy Design
in 1984, in association with theFallon Worldwide advertising agency,the rm gained infuence by inte-
grating design with advertisingd i i th i t d i
Milton Glaser
Founder o Pushpin Studios in 1954
with Reynold Runs, SeymourChwast and Edward Sorel, Milton
Glaser is celebrated or his illustra-tions, identities, and posters, along
with volumes o other design
work. In 1968, Glaser co-oundedN Y k i h h
April Greiman
April Greiman is a digital design
pioneer, innovator, and inveterateexperimenter with the intersection
o technology, image, and type.She has worked rom Los Angelessince 1976; her studio is called
Made in Space. Her current designi t t “ l
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g g g gand recognizing the impact design
has on consumers and brandingoverall. Notable brand and identity
work has included Armani Exchange,the Bahamas, Diet Coke, Fresca,
Kellogg’s Smart Start, Knob Creek,Starbucks, and Susan G. Komen
or the Cure. A recognized leaderin how to build lasting brands and
brand value, Joe Duy recentlyreleased his rst book, Brand Apart,
and was eatured in Fast Company magazine as one o the “Fast 50”
most infuential people in the uture
o business.
New York magazine, where he wasdesign director or a decade; at
his rm WBMG, he designed morethan 50 magazines and redesigned
three major newspapers as wellas consulting with countless other
publications. He has also designed
and illustrated more than 300
posters. He started Milton Glaser,
Inc., in 1974 in New York, wherehe works on identity, environmental,
product, interior, and exteriorsdesign. He is perhaps most amous
or his ot-copied “I (heart) New
York” logo. Glaser has had one-manshows at both the New York MoMA and Georges Pompidou Center.
ginterests ocus on “color-suraces-
materials and trans-media identityand branding.” For example, in work
or the Cerritos Center, in additionto logos and signage, she also
created textile and tile designs.She requently collaborates with
architects, including a recent publicart commission on a building in
Los Angeles. Other clients haveincluded AOL Time Warner, PacTel,
the U.S. Postal Service, and theWalker Art Center.
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Hoefer & Frere-Jones, Inc.
Jonathan Hoefer describes what
his rm creates as “couture type.”In addition to custom type aces
or organizations rom The NatureConservancy to the rock bandThey Might Be Giants, and mag-
azines and newspapers such asWired and The Wall Street Journal
Haley Johnson Design Co.
Haley Johnson is a Minneapo-
lis-based illustrator and designer.She established her studio in1992 to oer branding, packaging,product development, and illustra-tion to a variety o clients. Johnson
has worked closely with Blue Q,illustrating Hot and Flashy soaps
Herman Miller, Inc.
Herman Miller, Inc. is synonymous
with creating modern traditionsin urniture design, sustainable
manuacturing, and community-minded business practices. Iconssuch as the Eames, Aeron and
Mirra chairs, along with all their otherproducts consistently express the
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Wired and The Wall Street Journal ,
the rm also has a library o 1000 type designs. Founded in 1980
as the Hoefer Type Foundry, everydesigner working on a Mac has elt
the company’s infuence, as theenormous character set o Hoefer
Text has been part o Mac OS since the launch o System 7.
Other clients include businesses,newspapers, magazines, design
studios, ad agencies, publishinghouses, government organizations,
nonprots, and institutions. The
company’s Gotham typeace wasrecently selected or the FreedomTower cornerstone.
illustrating Hot and Flashy soaps,
collaborating on the design otheir Dirty Girl products, and pro-
viding creative direction and illus-tration or the me me me line o
bath and beauty products targetedto the mass market. Other clients
have included Peace Coee, JaneJenni, Target Stores, and Turner
Classic Movies. Johnson says thati she wasn’t a designer, she’d be
“painting something.”
products, consistently express the
Herman Miller belie “in design asa way to solve signicant problems
or people.” Based in Zeeland,Michigan, the company began in1923 as a manuacturer o residentialurniture, and through consistent
innovations and partnershipswith legendary designers has grown
to the second largest oce urn-iture company in the world. The
company has been recognized oralmost all o the last 20 years as
one o Fortune magazine’s “Most
Admired Companies.”
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112128 40
James Victore, Inc.
James Victore is the proprietor
o a Brooklyn-based, “independentdesign studio hell-bent on world
domination.” Known or his raw,stop-them-in-their-tracks illustrativestyle, bold theatre and political
posters, as well as unetteredswearing Victore’s clients include
Jager Di Paola Kemp Design
The Burlington, Vermont-basedJDK grew up alongside the snow-board industry through a ertile,
creative partnership with BurtonSnowboards that turned bothcompanies into cultural taste-
makers or the youth market andits attendant brands JDK sees
John Massey, Inc.
As a young man, John Massey
wanted to be a cartoonist, but achance meeting while in design
school with the Swiss designers Armin Homann and Jose Müller-Brockmann compelled him to turn
to design. He became the designdirector at Container Corporation
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swearing, Victore s clients include
Aveda, Amnesty International,Chronogram magazine, Möet &
Chandon, and The New York Times.“Dirty Dishes” is another Victore
project that eatures stark, blackand white, one-o-a-kind, marker
illustrations on white plates. Victoreis a sel-taught designer, who was
kicked out o the School o Visual Arts, which is now a client and
where he also teaches. He toldone interviewer, “I learned design
the same way I learned to swear.
I picked it up on the street.”
its attendant brands. JDK sees
brands as vibrant, living thingsthat must surprise and challenge
their equally engaged and savvycustomers, an idea demonstrated
by such revolutionary tactics asintroducing dozens o logos or
a single brand. The studio’s pointo view has been sought out by
Giant bicycles, Magic Hat brew-ing company, Merrell ootwear,
Microsot Zune, Segway, SeventhGeneration, Timex, and Virgin
Mobile, among others.
director at Container Corporation
o America, and then at theirCenter or Advanced Research
in Design, beore starting his owndesign consultancy, John Massey,
Inc. in 1983. His clients have in-cluded the Chicago Community
Trust, the American Library Association, Herman Miller, and
The Tribune Company. Masseyhas also been a teacher at the
University o Illinois at Chicago.
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56 124 14
M&Co.
Tibor Kalman ounded the socially
activist, progressive, iconoclasticdesign rm M&Co. in 1979, with
his wie Maira. He gained respector groundbreaking and infuentialdesign work, especially in his innova-
tive use o type, or the TalkingHeads, Times Square, and maga-
Maeda Studio
John Maeda is a computer sci-
entist, visual artist and designerwho is also the Associate Director
o Research at the Media Lab,and the E. Rudge and Nancy
Allen Proessor o Media Arts &
Sciences at MIT. He has writtenseveral “normal” books and a ew
McCoy & McCoy Associates
McCoy & McCoy Associates is
the design studio o Katherine andMichael McCoy. Katherine is a
graphic designer who began hercareer at Unimark International
and worked with many other orga-
nizations and advertising agencies;studio clients have included Detroit
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eads, es Squa e, a d aga
zines such as Colors, Wired ,and Ray Gun, even as he gained
notoriety or his radical politics,commitment to social causes, and
conrontational challenges to thesoul and conscience o designers
in person and the design proes-sion at large. “I use contrary-ism in
every part o my lie,” he said. “Indesign, I’m always trying to turn things
upside down and see i they lookany better.” Kalman collaborated
with Michael Bierut on a book
about his lie and work, PerverseOptimist , and died in 1999.
se e a o a boo s a d a e
experimental ones that combineprint with corresponding sotware.
He also runs Maeda Studio, whichhe says is simply “the name I give
or my desk at home.” Maedais known or his groundbreaking
work humanizing technologyto make it more intuitive, creative,
and accessible, and or using thecomputer as an artistic tool. Clients
have included Sawaya & Moroni,Shiseido, and Sony, and he was
eatured in an “Absolut Maeda”
ad eaturing his take on the iconicliquor bottle.
studio clients have included DetroitInstitute o Arts, Formica, Philips
Electronics, and Tobu Stores. Michaelis an industrial designer who
has worked with Knoll International,Philips Electronics, NEC, and
Steelcase. Together, they co-chaired
the design department at Cran-book Academy o Art or 25 years.
They are now lecturers at theIllinois Institute o Technology’s
Institute o Design.
1407286
Motion Theory
Motion Theory, located in Venice,
Caliornia, denes itsel as “amicro-studio, redening the pro-
duction industry through a com-bination o creative development,lmmaking, and innovative visual
eects.” Working with ad agencies,record companies, and corporations,
Modern Dog
Since its ounding in 1987, Modern
Dog’s powerul illustrative tech-niques and bold use o type, cus-
tom lettering, illustration, stencils,screen printing, spray paint, andcopier-as-printer have come to
dene the Seattle graphic designscene, especially as expressed on
Morla Design
Jennier Morla began her career
as an in-house designer or Levi’s.Since ounding her San Francisco
rm in 1984, she has createdarresting graphics or San Francis-co’s bid or the Summer
2012 Olympic Games; designedHemispheres magazine , Hold
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p , p ,
Motion Theory has made visuallystunning and surprising commercials
and videos or Beck, Epic Records,Gatorade, HP, and Microsot Zune,
among others. They were responsibleor the “Just a Game” Budweiser
Super Bowl spot that pit Jay-Z andNFL Coach Don Shula in a simu-
lated speed table ootball game,as well as HP’s “Personal Again”
brand advertisements.
, p y p
its many posters or indie musicartists. In addition, the rm has
created logos and custom letteringor the Washington State Lottery, ACT Theater, Ben Harper, and K2
snowboards; ads or Converse,
Nordstrom and K2; as well as allthe branding and packaging or
the snarky, tongue-rmly-planted-in-cheek, politically incorrect,
Blue Q series o novelty products.
p g
Everything catalogs, and Nordstromand Discovery Channel retail
stores; done editorial design orThe New York Times Magazine;
and launched the Morla Collectiono upholstery and panel abrics
rom Luna Textiles. She recentlytook on responsibilities as in-house
creative director or Design WithinReach. She notes that “Design
has to excite, but it also has toinorm in a way that engages. I
try to involve the audience in thedesign process, whether they
know it or not.”
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168 154 158
MTV Networks
MTV2 is a cable network launched
in 1996 to provide music ans withprogramming once oered by the
original MTV: commercial-ree,constantly changing music videos,with a particular ocus on indie
music. Programming has sinceexpanded to include other types o
The New York Times
The New York Times is one o the
country’s premier daily papers andpart o the New York Times Company,
a media consortium o newspa-pers, websites, and a radio station.
As graphics editor or The New York
Times, Steve Duenes has broughtclarity insight and understanding to
Nike, Inc.
Nike was ounded in 1971 by
Phil Knight, a University o Oregonmiddle distance runner, and his
track coach, Bill Bowerman, whoserst innovation was pouring rubberinto his wie’s wafe iron to make
a shoe sole. The Nike swoosh, oneo the most widely recognized
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shows, but the channel maintainsits core ocus on youth and pop
culture. The new logo was made todierentiate the channel rom MTV.
Billboard reported that the two-headed dog represented rock and
hip-hop, the two sides to the musicon MTV2. The logo also provided
a theme or a teaser website thatwas posted to help launch the
new network. The site includedtwo-headed-dog-themed images,
games, and videos.
clarity, insight and understanding to
readers by creating engaging andinormative illustrations o every-
thing rom maps on national votingpatterns to diagrams about theautistic brain and fow charts that
show who thanked whom duringOscar acceptance speeches.
Prior to joining the Times, Duenesworked as a designer and graphic
artist at newspapers in Michiganand Los Angeles, and at the Chicago
Tribune. Duenes is also a cartoon-ist whose sardonic images and
pithy captions appear regularlyin The New Yorker magazine.
logos in the world, was designed byCarolyn Davidson, a design student
Knight met in a college hallway.Knight reportedly said o the design,
“I don’t love it, but it will grow onme,” and paid her $35 or her
eorts. Davidson continued to workor the company until it grew beyond
the abilities o her one-person shop,and in 1983 she was presented
with an unnamed amount o Nikestock. Nike’s mission is “To bring
inspiration and innovation to everyathlete* in the world. *I you have
a body, you are an athlete.”
148130134
Ogilvy & Mather
Ogilvy & Mather, headquartered
in New York City, is the amed ad-vertising agency ounded in 1948
by the renowned David Ogilvy.From the “Hathaway Man” andthe “Lemon” ad or Volkswagen,
to American Express’s “Don’tLeave Home Without It,” the rm
Oce o Paul Sahre
Paul Sahre has maintained a small
design studio in New York since1997, where he works on a wide
variety o boutique projects thatcumulatively have had a big impacton design. His deceptively simple,
always suggestive illustrationsrequently appear in The New York
Number 17
Number 17 was opened in 1993
by best riends Bonnie Siegler andEmily Oberman. Beore starting
their own New York studio, Sieglerwas design director at VH1 andOberman worked at M&Co. Siegler
and Oberman are known to be ob-sessive collectors o a wide variety
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dened itsel and its clients byusing great advertising to create
great brands. Now part o theWPP Group, Ogilvy & Mather has
almost 500 oces in 125 countries,including many related units that
oer more specialized servicessuch as public relations and inter-
active and experiential marketing.Recently, the rm gained national
recognition or the viral successo its Dove Evolution video, which
“exposed the manipulation o theemale image in the media” and
won a Cannes Lion Award.
Times, especially on the OpEdpage. In addition, he has designed
book covers or two Rick Moodynovels and many covers or New
York magazine. He also designsand silkscreens posters or o-
Broadway shows, some o whichare now in the permanent collection
o the Cooper Hewitt DesignMuseum. Other clients include the AIDS Institute o New York, MarvelComics, Sundance Channel,the
School o Visual Arts, Verve Records,and many dierent magazines
and publishing houses.
o ephemera rom wedding caketoppers to all things 17, and bring
their slightly warped and eccentricsense o humor to much o their
branding, print, and broadcast work.They have worked on numerous
television shows rom The IsaacMizrahi Show to Desperate House-
wives and Saturday Night Live,as well as magazines rom Jane
and Lucky to Colors. They are alsothe authors o a sel-reerential
comic strip that appears regularlyin Step Inside Design magazine.
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44 54, 70, 102, 116, 144, 156 38
Paul Davis Studio
Paul Davis published his rst illus-
trations in Playboy magazine in1959. He then joined Pushpin Studios,
and in 1963, began working onhis own out o his New York Citystudio, which he runs with his wie,
Myrna, a writer and editor. His workhas appeared in Fast Company , The
N Y k R lli S Ti
Pentagram
Dened by a group o partners who
are practicing designers, Pentagramhas since 1972 represented the
intersection and cross-ertilizationo industrial design, graphic design,interior design and architecture.
Driven by the power o a strong idea,well-expressed, Pentagram has
i l d h
Pirtle Design
Woody Pirtle established Pirtle
Design in Dallas, Texas, in 1978.He grew his business over the next
ten years, creating logos, posters,and other designs that show astrong eel or graphic possibilities
as well as a sense o wit and whimsy.In 1988, Pirtle joined Pentagram’s
N Y k h h k d
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New Yorker , Rolling Stone, Time,Worth, and many other publications.
He was also art director or JosephPapp’s New York Shakespeare
Festival, and Normal and Wigwag
magazines. He has created post-
ers over the years or a wide rangeo clients, rom Caesar Chavez’s
United Farm Workers to the Schoolor Visual Arts and many other
non-prot and theater organizations.
grown to include more than 200 employees at oces in London,
New York, San Francisco, Austinand Berlin. Each o the nineteen
dierent partners not only leadsprojects, but is also an opinion-leader
in his or her particular discipline andarea o expertise; most partners
are also teachers, lecturers andwriters,as well as subject matter or
other design critics and writers.Projects include everything rom resi-
dential, commercial and institu-tional architecture commissions, to
identity, editorial, exhibition, graphic,print, web and product design.
New York oce, where he workedwith clients such as Nine West,
Northern Telecom, Rizzoli Publish-ing, the Rockeeller Foundation,
and United Technologies. In 2005,Pirtle let Pentagram and re-opened
Pirtle Design, this time in NewPaltz, New York, where he works on
identity, signage, screen graphics,publications and packaging. Pirtle’s
work has been widely exhibitedand is in the permanent collections
o several prestigious museums.
3268138
Pushpin Studios, Inc.
Known or their witty, inventive,
arresting illustrations, Pushpin Studiosis the design sandbox ounded in1954 by Seymour Chwast, MiltonGlaser and Edward Sorel, and isnow synonymous with Chwast. From
1976 to 1980, the studio also prod-uced an award-winning bi-monthly
bli ti Th P h Pi G hi
Chris Pullman
Chris Pullman is vice president o
branding and visual communica-tions at WGBH in Boston, where,
since 1973, he has developed andguided the station’s brand expres-sion in title sequences, credits,
animations, marketing, advertising,interactive media, and teaching
t l P ll t d th titl
PMH
Minneapolis-based Peterson Milla
Hooks Advertising does extensiveprint, television and outdoor adver-
tising or Target, and is the creativeorce behind their signature, highly
stylized, totally accessible, design-
is-or-everyone look. Dave Petersonhas said o his work with Target,“W ’ bl d ith b bl
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publication, The Push Pin Graphic,with Chwast as art director, design-
er, and contributing illustrator.His illustrations have graced maga-
zines such as Time, The New York
Times, and Graphis; and he has
developed packaging or everythingrom McDonald’s Happy Meals
to diabetes drugs or Upjohn, andlogos or the Brooklyn Children’s
Museum, the Discovery Museum,and Electronic Data, Inc. In addi-
tion, he has illustrated numerouschildren’s books and educational
products and his work is collectedin many major art museums.
tools. Pullman created the titlesequences or Masterpiece Theatre
and Antiques Roadshow, as wellas the WGBH animated on-air
signature. Prior to WGBH , Pullmanworked as a typographer and letter-
press printer and had his owndesign studio and consultancy.
Pullman received his MFA rom Yalein 1966, where he has continued to
teach and work as a senior critic.
“We’re blessed with probably one
o the best designed logos in thebusiness. There’s just so much you
can do with it.” Minda Gralnek hasbeen a creative director at Target
since 1990 and is credited with
developing its unique position as alow-priced destination or products
that are well-designed, innovative,practical, and aordable.
186
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1101684
Sagmeister Inc.
Stean Sagmeister creates designs
that are oten shocking, requentlyappropriate unusual materials, and
oten use low-budget challenges togreat eect. He once used his ownbody as a canvas and his own blood
as ink, by having an assistantexacto blade pertinent inormation
or a 1999 AIGA Detroit event into
Rudolph de Harak & Associates
Since opening his oce in 1952,
Rudolph de Harak has brought hismodernist sensibility to hundreds
o books, records, and posters, aswell as exhibitions and expositions
that “have transormed didactic
displays into engaging environments,”according to Steven Heller. “Dedicatedto the ecient communication o
Rolling Stone Magazine
Fred Woodward created Rolling
Stone magazine’s signature look,using eclectic compositions that
utilized everything rom imageso classic Americana to custom-
ized type treatments and startling
arrangements o photographyand illustration to express therock-and-roll liestyle the magazine
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or a 1999 AIGA Detroit event intohis skin, with the raw photograph
becoming the nished poster. Inanother instance, he used coat
hangers, newsprint, and corrugatedcardboard to create a compelling
ashion brochure on a post-cardbudget. Other clients have included
Lou Reed, David Byrne, the RollingStones, and Adobe. He released his
monograph, Made You Look , in 2001.
to the ecient communication o
inormation, de Harak uses detailthe way a composer scores musical
notes, creating melodies o sensa-tion to underscore meaning.” Most
memorably, de Harak designed
the logotype or McGraw-Hill’s bookdivision and the timeline and typo-
graphic displays or the EgyptianWing o the Metropolitan Museum
o Art. De Harak was also, ordecades, a proessor at Cooper
Union, as well as Yale, Parsons,Pratt Institute, and other schools.
rock-and-roll liestyle the magazine
celebrated and illuminated. Hebegan his career as a graphic de-
signer working at several regionalmagazines including Memphis andD Magazine in Dallas. In addition
to his work as art director orRolling Stone, Woodward was also
creative director o the larger com-pany. In 2001, Woodward became
design director at GQ magazine.
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78 142114
Skolos/Wedell
Skolos/Wedell, located in Canton,
Massachusetts, is the designstudio o the husband-and-wie,
photographer-and-designer teamo Thomas Wedell and NancySkolos. Established in Boston in
1980, the rm is known or itsintriguing combinations o graphic
design and photography that incor-
Jack Stauacher
Jack Stauacher opened Green-
wood Press in 1936 in San Mateo,Caliornia, and began publishing
books and limited editions thatshowcased a mastery o typography,
design, and printing technique. In
1955, he was awarded a Fulbrightgrant that took him to Florence,Italy or three years o study with
SamataMason
“We tell stories. We make emotional
connections. We deliver commu-nication that engages people and
contributes to a positive behavioralchange,” notes the SamataMasonwebsite. Founded in Chicago in
1995 by Dave Mason and Pat andGreg Samata, the rm has grown
to include oces in Vancouver and
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design and photography that incorporate collage, multiple exposures,
and other techniques to createcubist-infuenced, three-dimensional
images. Clients have includedCallaway Editions, Digital Equipment
Corporation, EMI Music Publishing,James River Corporation, SBK
Records, SCS Communications,Steelcase Design Partnership,
and The Walker Art Center. Skolosand Wedell both received degrees
rom the Cranbrook Academyo Art and their posters have been
collected by MoMA and theMetropolitan Museum o Art.
Italy, or three years o study with
master printers. When he returnedto the United States, he became
a proessor at the Carnegie Insti-tute o Technology (now Carnegie
Mellon) and created the New Lab-
oratory Press, beore becomingtypographic director at the Stanord
University Press and a teacher atthe San Francisco Art Institute. In1966, he reopened the GreenwoodPress in San Francisco and began
once again printing books andlimited editions, as well as engaging
in typographic experiments.
to include oces in Vancouver andNew York. Clients range rom small
start-ups to well-established com-panies including Motorola, Sesame
Workshop, Thrity Car Rental andFox River Paper. In addition to the
ull range o strategic design andcorporate communications services,
Dave Mason and Greg Samataalso ounded OpinionLab, which
oers automated user-eedbacksystems or website and other
online content providers.
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628060
Vanderbyl Design
“I am one o those designers
who works as comortably in twodimensions as three, and or whom
design has neither discrete disci-plines or barriers,” says Michael
Vanderbyl, who ounded Vanderbyl
Design in 1973 in San Francisco,and thereby helped establish that
city as a major design center. Since
Tolleson Design
San Francisco-based Tolleson
Design “crats solutions that inte-grate multiple design disciplines”
and result in “adaptable systemsthat dene visual communicationacross an organization.” Clients
have included Chronicle Books,Fox River Paper, Godiva, Kodak,
Liz Claiborne, Matell, Microsot,
Bradbury Thompson
Bradbury Thompson is best known
or his work with typography. In1950, he created Alphabet 26, an
alphabet that sought to simpliythe inconsistencies in our regularalphabet and thereby make it
easier or children to learn to read.He also created a Monoalphabet.
In his hugely productive career, he
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y j gthen, the studio has worked in gra-
phic, urniture, product, packaging,textile, and interior design or
clients as varied as the America-One/America’s Cup Challenge boat,
Bernhardt Furniture, The WaltDisney Company, Esprit, IBM, Luna
Textiles, the San Francisco MoMA ,and Teknion Furniture. Vanderbyl
is also Dean o Design at the Cali-ornia College o the Arts and has
work in the permanent collectionso several museums.
, , ,Nike ACG, Rizzoli, and Urban Out-
tters. Steve Tolleson’s monographnot only oers detailed proles
o many notable projects createdsince the studio opened in his
bedroom-cum-studio in 1984, butalso details the studio’s process
o research, collaboration, visualexploration, and environment,
metaphorically reerenced in thebook’s title, Soak Wash Rinse Spin.
g y p ,was art director at Mademoiselle
magazine and design director or Art News and Art News Annual .
He designed more than 90 stampsor the U.S. Postal Service, created
the Westvaco Inspirations serieso publications, and designed the
Washburn College Bible, an 1800-page, three-volume tome that
includes reproductions o master-pieces o religious art and original
screen prints by Jose Albers.Bradbury Thompson died in 1995.
16015030
Werner Design Werks, Inc.
Sharon Werner opened Werner
Design Werks in Minneapolis in 1991,ollowing a stint at Duy Design
Group, which, in turn, ollowed onthe heels o her graduation romcollege. Known or designs that
create a strong visual languagewith clear type and without unnec-
essary complications, the studio
VSA Partners, Inc.
VSA Partners is one o the astest
growing integrated marketing rmsin the United States, with oces in
Chicago, Minneapolis, New York,and St. Louis. Since its ounding in
Chicago in 1983, the company has
built its reputation by using inspiringand humanistic approaches tocorporate communications, annual
Vignelli Associates
Vignelli Associates was ounded
in 1971 in New York by Massimo Vignelli and his wie, Lella. Vignelli
started his career in 1966 byopening the New York branch
o Unimark International and has
designed identities or American Airlines, Ducati, and Benetton;packaging or Bloomingdales,
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has created get-out-the-vote posters
or AIGA ; catalogs or Blu Doturniture; brochures or Comedy
Central; branding, packaging, andsale promotions or Möet Hennessey;
promotions or Mohawk Paper;naming, packaging, and brochures
or Mrs. Meyer’s-Clean Day; andHalloween promotions and pack-
aging or Target Corporation, amongothers. In addition to many design
accolades, the studio was alsonamed Target’s Vendor o the
Year in 2002.
reports, and marketing materialsthat not only position the brand,
but create clear and measurableresults, and bring “the energy o
consumer campaigns” to business-
to-business communications. VSA Partners’ clients include BP,
Caterpillar, Converse, GeneralElectric, Sappi Fine Paper North
America, Harley-Davidson, IBM and Nike.
Brookstone, IBM, and Rosetti; andtransportation and architectural
graphics, posters, interiors, books,magazines, urniture, and products,
including the Knoll Handkerchie
Chair. Vignelli is considered a truemodernist: “I like design to be
semantically correct, syntacticallyconsistent, and pragmatically
understandable. I like it to bevisually powerul, intellectually
elegant, and above all, timeless,”he has said.
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94
Wieden+Kennedy
Wieden+Kennedy brought increas-
ed vigor to branding by combiningemotion, style and storytelling to
create new orms o advertising.Their Nike partnership has resultedin some o the industry’s most
memorable work, rom “Just Do It,”to the Charles Barkley, “I Am Not
A Role Model” ad, and the “I You
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Let Me Play” girls empowerment
campaign. Founded in Portland,Oregon, in 1982, and now one
o the largest independent adver-tising agencies in the world, W+K
is expanding into new ventures,including TokyoLab, a record
label and creative workshopthat has released CDs combining
music, graphics and lm, andWieden+Kennedy 12, a program
that lets 12 select studentswork alongside proessionals
on real-world projects.
About
AIGA
About
Sappi Fine Paper
Production
Notes
Seeing how this book refects the
very best o design over the lastew decades, it seemed only tting
that we print this stellar collectionon McCoy. Since its introduction,
McCoy has become the standard bywhich all other papers are judged—
the best-o-the-best in premium
paper. We hope you’ll enjoy howthe brilliance o McCoy brings these
timeless ideas to lie.
Sappi Fine Paper North America
( SFPNA ) is the leading North American producer o coated ne
paper used in premium magazines,catalogues, books and high-end
print advertising. Headquarteredin Boston, Massachusetts, Sappi
Fine Paper North America is known
or innovation and quality. Its brandnames include McCoy, Lustro
Oset Environmental ( LOE ), Opus,d S t d th
AIGA, the proessional association
or design, is the oldest and largestmembership association or design
proessionals engaged in the disci-
pline, practice and culture o design.
Its mission is to advance design as
a proessional crat, strategic tool
and vital cultural orce.
Founded as the American Instituteo Graphic Arts in 1914, AIGA has
become the preeminent proessional
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Dust Jacket: Printed on McCoySilk Text 80lb/118gsm. Match
black, match silver, overall satinaqueous and blind emboss.
Cover: Printed on McCoy GlossCover 80lb/216gsm. Matchblack, match silver plus overall
satin aqueous.
Interior: Printed on McCoy MatteText 100lb/148gsm. 4-color pro-
cess, 2 hits match black, match
silver, spot dull varnish plus overallsatin aqueous.
Design: VSA Partners, Inc.
and Somerset and are some o the
industry’s most widely recognizedand specied. SFPNA is a division
o Sappi Limited ( NYSE:SPP ), aglobal company headquartered in
Johannesburg, South Arica, withmanuacturing operations on our
continents in nine countries, salesoces in 50 countries, and custom-
ers in over 100 countries around theworld. Learn more about Sappi at:
www.sappi.com.
become the preeminent proessional
association or communication de-
signers today. Over the past decade,
designers have increasingly been
involved in creating value or clients
through applying design thinking
to complex problems, even when
the outcomes may be more strategic,
multidimensional and conceptual
than what most would consider
traditional communication design.
AIGA currently represents more than
20,000 designers in all disciplines
through national activities and localprograms developed by more than
55 chapters and 200 student groups.
194
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100% o the electricity used to manuacture McCoy was
generated using Green-e certied renewable energy.
The names, symbols, logos, and all other intellectual property o
the companies, brands, and people appearing herein are the
exclusive property o their respective owners and should not
be interpreted as an endorsement o or by Sappi; any legal and
equitable rights in their intellectual property are exclusively
reserved to those owners.
SAPPI is a trademark o Sappi Limited. McCOY is a registered
trademark o Sappi Fine Paper North America. For McCoy paper.
© 2007 Sappi Fine Paper North America. All Rights Reserved.
10%
Cert no. SW-COC-1705
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212.807.1990212.807.1799
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