Shillington Post—Issue 02

N02

THE

AMERICA

ISSUE

04 // Favorite American Designers 06 // 50 Awesome American Inventions

10 // Profile: Ocane Combeau

18 // Googie Architecture by Anthony Wood20 // Studio Tour: Anti/Anti24 // Opinion: Holly Karlsson

E D I

RN02

THE AMERICA ISSUE

IOn my first visit to America I bought an unregistered station wagon for $600 in Vegas and road-tripped across the country. At one point I was traveling with six hitchhikers and a dog. My final destination? The Big Apple. Little did I know then that New York City would become Shillingtons first American campus.

The design scene in America is diverse, innovative and electric. Our students arelucky to live and learn in the heart of it all. With top-notch creatives popping in for guest lectures, prolific art museums at their doorsteps and culture buzzing 24/7, New York City really has it all.

We recently introduced the M1 student visa, which allows dreamers from all over the world to kickstart their creative careers. I love seeing our classroom come alive with the energy and talents of both American and international students. Im proud to say that by the end of 2015, well congratulate graduates hailing from 35 countries, including Uruguay, Belgium, the Philippines, Tunisia, Switzerland and India.

In this issue of the Post, were celebrating all things America. Have a browse through 50 awesome U.S. inventionsmy three favorites are the polio vaccine, the skyscraper and the light bulb. Six of our teachers introduce us to their favorite American graphic designers. We meet up with Ocane Combeau, an international student who sparked her love of design at Shillington New York and quickly launched her own freelance studio in Amsterdam. Anthony Wood discusses the history and legacy of Googie Architecture through McDonalds andThe Jetsons. And as a final ode to NYC, Holly Karlsson echoes creative voices to share her love for the city that never sleeps.

Happy reading.

Andy Shillington CEO of Shillington

T O

I A L

MY FAVORITE AMERICAN DESIGNER

BEN SALESSE PART-TIME TEACHER, NEW YORK

Designers can hide behind tight kerning, strict alignment and respectable layouts. Tibor Kalman didnt. He was color blind and not formally trained, but he poured his soul into his work.

Whether he was designing a magazine, a New Years card or a watch, what he created was bold, witty and provoking. His work was an expression of who he was as a man, imbued with his personality, intelligence and social consciousness.

Where design can at times be an exercise in anonymous conformism, Kalman offered a piece of himself.

KENNY PHILLIPS FULL-TIME TEACHER, NEW YORK

Steve Powers, aka ESPO (Exterior Surface Painting Outreach), aka Icy Signs is a sign-painter, a poet and aperson that I look up to creatively. I like Steve because he is not only staying busy with his work, but hes busy doing the things that he finds tobe important.

The presence of public messageswhich function with no agenda other than to modestly reflect the sentiments, vernacular, ideals and aesthetics of the people whom have always inhabited any particular placeis the thing that Steve deems important. His work is all at once intimately personal and widely public.

By having relatable forms in public spaces, communities are enriched, revitalized and offered a break from the daily barrage of the persuasive voice of capitalism. Through Steves work, communities are offered a glimpse into a simpler and more human existence.

I especially love his motto: Perfection comes standard, mistakes cost extra.

LOU HELLIWELL PART-TIME TEACHER, SYDNEY

My favorite is Paula Scher, the American graphic designer and painter. She was the firstfemale principal at Pentagram, which is pioneering in itself! Iparticularly like her environmental graphics for interiors and urban environments, suchas murals for Queens Metropolitan Campus and bold graphics and type for Achievement First Endeavor Middle School. Plus, she seems like a genuinely humble and nice person!

Land of the free, home of the brave and

bold designers. For this issue, we asked six

teachers from around the world to share their

very favorite American graphic designers.

ROSS HARRINGTON PART-TIME TEACHER, MELBOURNE

Michael Bierut is a designer, design critic and educator based in New York. He is a Partner at Pentagram New York, Senior Design Critic at Yaleand co-founder and contributor to Design Observer. He has also written a number of books including 79ShortEssays on Design.

He is one of the designers interviewed in Beryl McAlhone & David Stuarts book A Smile in the Mind Witty thinking in graphic design, which wasone of my favorite design books as a student. In the interview he tells of the difficulty he had coming up with a solution for a poster foran American design competition. Hedescribes how, after putting the job off repeatedly because he was frozen bythe absence of restrictions to thebrief, he dictated a statement he hadwritten on What is good design, letter by letter, to his young daughter. She then wrote it out on a piece of paper. This ultimately formed the basis for the front of the poster. InBieruts own words: "Making it appear to be a kindergarteners essaygave it anaching truth."

For such an accomplished designer, it is refreshing when he speaks so honestly about the times he has struggled to convince his clients ofdesign solutions. It is valuable to hear the lessons he has learned from almost failing on certain projects. Thisstory is a good reminder that every designer encounters challenges with projects and that as Bierut puts it: "Without problems, there would benosolutions."

JASON COOPER FULL-TIME TEACHER, SYDNEY

Hes not technically a graphic designer, but Id argue that SteveJobs is an inspiration not just for creating the machine that breathes life into design, but as someone who simply never gave upon his dream.

His aggressive pursuit of the mostbeautiful, innovative design technology is one of the reasons Imable to do what I love as a profession every day.

FRANCES GRAY FULL-TIME TEACHER, MELBOURNE

Saul Bass was probably the first graphic designer I discovered. I must have been about 15 and studying media. We had to watch Alfred Hitchcocks Vertigo. I enjoyed the film, but I adored the opening credits. Soon after I discovered more of Basss work and quickly fell in love with his style.

There is something inherently emotive about the imperfection and tactility of his work. The hand-made quality combined with strong underlying structures is something that I love to explore in my own work. I now create a lot of work using paper and similar hand-made techniques to that of SaulBass.

There is something inherently emotive about the imperfection and tactility of his work. The hand-made quality combined with strong underlying structures is something that I love.

6 // Shillington Post

50 MOST AWESOME AMERICAN INVENTIONS OF ALL TIME // Sara Mazzoni

50 MOST AWESOMEAMERICAN INVENTIONS OF ALL TIMEWORDS BY SARA MAZZONI // ILLUSTRATION BY ENZA LETTIERI

Theres a reason the U.S. is called the nation of inventors.

Throughout history, Americans have played a vital role in the

world of innovation, contributing to human advancement in

countless ways both big and small. We have America to thank

for major game changers like the telephone, the automobile

and the Internet as well as little luxuries like the popcorn

popper, the Roomba and sunglasses.

Here are 50 of the best inventions, in no particular order:



02. THE ROOMBA. Who wouldnt want a robot to clean their house? Invented by a company called iRobot in 2002, the Roomba operates independently to vacuum your floor. America also invented the original vacuum cleaner, but no doubt the Roomba takes the cake.

03. SKETCHPAD. Sketchpadthe first graphical user interfacewas invented by Ivan Sutherland in 1963. Sutherland won big international prizes for the revolutionary program, which set the stage for later innovations like Photoshop.

04. 3D PRINTING. A hot trend of today, we can thank a man named Chuck Hull for inventing the 3D printer back in 1983. Based on a technique called stereolithography, 3D printing constructs a physical object from a digital modeltypically by layering successive layers of a material. The world is constantly discovering new ways to use 3D printing, such as Nike and New Balance manufacturing custom-fit shoes forathletes.

05. INTERNET. First, lets be clear Al Gore did not invent the Internet. It was actually a group of American visionaries at the request of the U.S.Department of Defense. The framework they envisioned paved the way for a whole new digital world.

06. COTTON GIN. In 1794, Eli Whitney patented the cotton gin, a machine that revolutionized the production of cotton in America.

07.THE LIGHT BULB.WHOSE BRIGHT IDEA WAS THE LIGHT BULB? WELL, WHILE MANY INVENTORS CREATED INCANDESCENT LAMPS PRIOR TO THOMAS EDISON, HE IS UNIVERSALLY CREDITED WITH INVENTING THE FIRST COMMERCIALLY PRACTICALLIGHT BULBIN 1879.

01.THE SWIVEL CHAIR.FOUNDING FATHER THOMAS JEFFERSON INVENTED THE WORLDS FIRST SWIVEL CHAIR IN THE LATE 1700S. RUMOR HAS IT HE EVEN DRAFTED THE DECLARATION OF INDEPENDENCE WHILE SWIVELING TO HIS HEARTS CONTENT.

08. FORD MODEL T. Henry Ford first introduced his Model T in 1908, and it is generally regarded as the first affordable automobile that opened the motor world to middle-class America.

09. BASEBALL. Commonly known as Americas Favorite Pastime, baseball was invented by Abner Doubleday in New York during the summer of1839. Take me out to the ball game!

10. PEANUT BUTTER. Ground peanuts trace all the way back to Aztec days, but American Marcellus Gilmore Edson was granted the patent for peanut butter back in 1884. But the real question remainswhos the genius who made the first PB&J?

11. POLIO VACCINE. The world owes a lot of healthy lives to Dr. Jonas Salk, who invented the polio vaccine in 1952.

12. POPCORN POPPER. The first commercial popcorn popper was invented by Charles Cretors in 1885. Movie and circus lovers, rejoice!

13. PARKING METER. In 1935 the worlds first parking meter was installed in OklahomaCity. It was the brainchild of Carl Magee, head of thecitys chamber of commerce. Now we know who to blame forall those pesky parking fines!

14. ELECTRIC BLANKET. The first electric blanket was invented by American physician Sidney I. Russell in 1912. Cozy up, everyone.

15. SMOKE ALARM. Francis Robbins Upton, an associate of Thomas Edison, developed the first smoke alarm system in 1890.

16. ELECTRIC GUITAR. Have you heard Jimi Hendrixs famous rendition of The Star Spangled Banner, absolutely shredded on an electric guitar? Ifso,your ears can thank George Beauchamp, who created thefirst electrically amplified guitar in 1931.

17. ESCALATOR. Nathan Ames dreamed of revolving stairs in 1859, but it wasnt until 1892 that Jesse W. Reno patented the first escalator and planned for installation at Coney Island.


19. AIRBAG. After a car accident with his family, industrial engineer JohnW.Hetrick registered for the first airbag patent, which wasissued in1953.

20. TV. The history of television is a bit fuzzy, but Philo Taylor Farnsworth is credited as a major contributor. A Mormon farm boy who grew up in a log cabin, people call him the Bill Gates of his age.

21. SAFETY PIN. American mechanic Walter Hunt is credited with the invention ofthe safety pin in 1849. Though Hunt made a pretty penny on thepatent sale, it pales in comparison to the millions of dollars W. R. Grace and Company earned from the invention.

22. SCOTCH TAPE. Scotch tape was invented by a college dropout named Richard Gurley Drew. After the success of his first invention, masking tape, Drew endeavored to create a transparent alternative. Two years ofexperimentation later, scotch tape was born in 1925.

23. BLUE JEANS. Does the name Levi Strauss ring a bell? Well, back in 1873 Strauss,along with Jacob Davis, patented a new style of trouser made from denim cloth. The particular style was called blue jeans and the name stuck.

24. MAGIC MARKER. The Magic Marker was invented by New Yorks Sidney Rosenthal in1953. Perfect for doodling.

25. AUTOPILOT. The first aircraft autopilot was developed by the Sperry Corporation back in 1914 and displayed to the world by LawrenceSperry at a Parisian contest.

26. BARCODE. Norman Joseph Woodland was a university graduate student inPhiladelphia when fellow classmate Bernard Silver overhead agrocery store executive asking how product information could becaptured at check-out. The pair jumped on the idea, and in 1952 they were issued a patent for the first barcode.

27. COTTON SWAB. Invented by Leo Gerstenzang in the 1920s, the cotton swab improved bathroom routines around the world forever.

18.BOURBON.THERE IS A LOT OF SPECULATION SURROUNDING THE INVENTION OF BOURBON, BUT LEGEND HAS IT THAT DURING THE 1700S KENTUCKY FARMERS IN THE COUNTY OF BOURBON DISTILLED THE FIRST CORN-BASED WHISKEY BY TURNING LEFTOVER CORN CROPS INTO MASH. DRINK UP, BOYS!

28. CIGARETTE ROLLING MACHINE. Maybe America wishes it could take this one back? Cigarettes were hand-rolled and sold starting in 1865, but James Bonsacks invention of the cigarette rolling machine in 1880 completely changed the tobacco industry.

29. COCA-COLA. In 1886, a Civil War veteran and pharmacist named John Pemberton invented Coca-Cola. At first, Pemberton claimed Coca-Cola cured many diseases including morphine addiction, dyspepsia, neurasthenia, headache and even impotence!

30. TEA BAG. Who knew frugality could lead to genius? In 1908, a New York tea merchant named Thomas Sullivan was trying to cut costs by distributing small samples of tea in silk bags rather than metal tins. It was actually a total accident that restaurant owners began brewing the entire bag.

31. CASH REGISTER. In 1879, a saloon owner named James Ritty from Chicago invented something major to keep his bartenders honest. It was nicknamed the Incorruptible Cashierthe first mechanical cash register.

32. TOUCHSCREEN. Hey iPhone lovers! You know your device wouldnt be the same without a touchscreen, first invented by Dr. Samuel Hurst in 1971 at the University of Kentucky.

33. MICROWAVE OVEN. Can you believe the microwave oven was invented by accident? Perry Spencer was working on building magnetrons for radar sets at Raytheon in 1939 when he noticed that the active microwaves from a radar caused the candy bar in his pocket tomelt! Flash forward to 1945 and Raytheon filed a patent for thefirstmicrowave cooking oven.

34. LASERS. The first laser was built in 1960 by Theodore H. Maiman and is used today in disk drives, barcode scanners, welding materials, laser lighting in entertainment ... the list goes on and on.

35.HAND-HELD CALCULATOR.IN 1967, A GROUP OF TEXAS INSTRUMENT ENGINEERS INVENTED A PROTOTYPE HAND-HELD CALCULATOR. MATH STUDENTS WERE THANKING THEIR LUCKY STARS WHEN ITWASFINALLY RELEASED COMMERCIALLY IN 1972.

36. FACEBOOK. If youre reading this, chances are youre one of the more than 1.44billion people who use Facebook around the world each month. Invented by Mark Zuckerberg in 2004, its amazing how thesocial networking site has evolved in the past 11 years to digitally disrupt how the world communicates and shares information.

37. SKYSCRAPER. The first skyscraper was constructed in 1885 in Chicago, Illinois. Designed by architect William Le Baron Jenney, the building stood ten stories high.



41.CONDENSED MILK.GAIL BORDEN, JR. WAS A LAND SURVEYOR AND NEWSPAPER PUBLISHER, BUT HIS LEGACY LIVES ON WITH HIS MOST FAMOUS INVENTIONCONDENSED MILK. DEVELOPED IN 1856, CONDENSED MILK WAS ESPECIALLY ENJOYED BY UNIONSOLDIERS DURING THE AMERICAN CIVIL WAR.

38. COTTON CANDY MACHINE. In 1897, two mena Tennessee candy-maker and a dentistinvented the first cotton candy machine. Wait a minute. Is that unbridled American Capitalism at play? A candy-maker anda dentist?

39. SUNGLASSES. Your futures so bright, you gotta wear shades! Sam Foster introduced the first mass-produced sunglasses in 1929 on theboardwalk of Atlantic City.

40. DISPOSABLE DIAPER. Back in the 1940s, a fed-up housewife named Marion Donovan satdown at her sewing machine with a shower curtain to construct the first ever disposable diaper. At first no manufacturers would take her seriously, but eventually she went for it solo and the diapers were a smashing success from day one at Saks Fifth Avenue. Talk about a mother of invention!

42. COMPACT DISC. Isnt it crazy to think that most high schoolers today have never bought a CD? Invented by James T. Russell in 1966, the Compact Disc completely revolutionalized the music industry.

43. EMAIL. In 1978, a 14 year old American named Shiva Ayyadurai in NewJersey began building a computer system that eventually became what we know today as e-mail.

44. GPS. The Global Positioning Systemcommonly known as GPSwas invented by the U.S. Department of Defense in 1995. Definitely agodsend for the directionally-challenged!

45. PHONOGRAPH. Another one from Thomas Edison, who invented the phonograph in 1877 as the first device to record and reproduce sound.

46. SPACE SHUTTLE. In 1972, a group at Americas space agency NASA began developing a shuttle to reduce costs of getting into space. Beamme up, Scotty!

47. PHOTOCOPIER. A New York patent attorney named Chester Carlson is responsible for the invention of photocopying. Carlsons job at the patent office required him to make a large number of copies, which irritated his arthritis. After successful experimentation with photoconductivity he applied for a patent himself in 1938. How ironic!

48. KEVLAR. In 1965, Stephanie Kowlek created Kevlar, a synthetic material thats five times as strong as steel. Kevlar is still used in hundreds of products today including skis, suspension bridge cables and bullet proof vests.

49. WASHING MACHINE. Alva J. Fisher invented the first electric-powered washing machine back in 1908. Oh, the hours of soapy hands on a scrub board itsaves us!

50. WINDSHIELD WIPER. In 1903 Mary Anderson, an American real estate developer, was granted a patent for her first inventionan automatic car window cleaning apparatuscommonly known as the windshield wiper.


The world thanks you, America. Youve changed this planet for the better.


PROFILE // Ocane Combeau



OCANE COMBEAU

Shillington Graduate

INTERVIEW BY HOLLY KARLSSON // PHOTOGRAPHY BY JONAS SACKS / HURLU DESIGN (COFFIN PACKAGING)


Ocane Combeaus creative journey has led her literally

aroundthe world. Parisian-born, she graduated from Shillington

NewYork in 2014 and currently works in Amsterdam as a

full-time freelance graphic designer. She runs independent

studio Fernand et Firmin and specializes in illustration, brand

identity and creative consulting.

We caught up with Ocane to hear more of her story.

Did you always know you wanted to be creative?

In a way I always wanted to be creative, but Ineveropenly said it. It just seemed too out of reach to ever be able to earn a living with what, as a kid, looked like a hobby. I always had good grades and teachers in France tend to steer you towards what you are capable of doing, not what you actually want to do. It took me a while then, trying and quitting several studies and working indifferent fields to find and embrace thegraphicdesign path.

What was it like launching your own freelance studio, Fernand et Firmin?

Starting to work as a freelancer is a bit of a strange process. Its difficult really knowing whereto start, where to get the clients and howtoeventually make them come to you.

After Shillington, I printed 20 copies of my portfolioand sent them around to different design studios around Europe. I believe people and especially graphic designers always enjoy both printed goods and snail mail, so a lot of themcontacted me. It didnt always turn into a work opportunity, but the meetings I had were always very interesting.

In Amsterdam, which is a small city, the contacts and friendships you make are whats gonna make you work as a freelancer. I definitely try to always maintain and grow my network.

Whats your favorite thing about working in the creative field?

I have a few corporate clients and love being challenged by data. Most people would drown in the information, but I love giving them back a clear, understandable layout, infographic or icon.

Design is an unskippable step for any business to get their message through. I love witnessing the difference in the customer response after smart design has been applied. Its then I really feel Ive brought something to the business.

Can you tell us about one of your favorite projects since graduating?

I loved working on the design of the album coverof Just Listen 02, the second release of the in-house label of Native DSD. I created an illustrated pattern and used it on a range of collateral for social media use, posters, etc. Ialsoput together an explanatory booklet withtheartists biography and pictures.

Before starting any design, I went to the recording session of the album in the studio to observe the musicians and the technical aspect of everything. I then decided to work with illustrations. First I focused on the instruments, but later I decided toadd some characters.

The client was really enthusiastic throughout the whole process and as we made some changes together in the color palette, he let me explore as much as I wanted pattern and style-wise. Itwas a thrill seeing the project slowly develop into something concrete.



Why did you decide to study at Shillington?

Before deciding to go to Shillington, I already made up my mind about graphic design, I wanted to start freelancing and was already working with acouple of clients on really small scale projects. My main issue wasI had zero confidence in my work. And anyone I was working with could feel it.

I was looking for a short course that would boost my confidence, and Shillington seemed to be the perfect match. A big part of freelancing in graphic design is about educating your clients and guiding them towards the right decisions. Itsa collaboration all the way through the workingprocess.

Before Shillington, I was absolutely unable to do that. The course improved my skills in ways Iwouldnt have imagined and gave me confidence to handle all the aspects of freelancing.

Tell us about living and studying in New York City.

I had been to New York before as a tourist I found it too loud, too big, anonymous and impersonal. But actually living there completely changed the way I saw the city. New York City is huge, but for some reason you always end up running into someone you know. Everyone organizes their livesaround their neighborhood, and the feeling ofbelonging to a community really grows in you.

I enjoy hosting dinners, drinks, lunches and movie nights. I like gathering people that dont necessarily know each other under the same roof. It always creates interesting conversations.

Walking around on the street you see posters, banners, menus in restaurants, etc. The minute you start paying attention to it, it all becomes an endless source of inspiration. So definitely take a look around!

What are you most looking forward to in the next 12 months?

Ive been doing some on-site freelancing for several agencies for a few months now and I absolutely love it. I usually work from my living room and it can get a little lonely. Working within a team teaches me a lot and is also just really fun. I want to try and develop that aspect of my freelancing to get the right balance between myown projects and some on-site freelance withinagencies.

What are your favorite creative resourcesblogs, magazines, events, etc.?

I really enjoy reading the blogs of the talented ladies in the West Coast design community: Jessica Comingore, Emma Robertson and Chelsea Fullerton Jones. I am continuously eager to learn from successful freelancers and those ones are always willing to share advice and resources from their toolbox. Theyre dynamic, entrepreneurial and independenteverything that I aspire to be!

Any advice for how to stay inspired?

Its funny how when you work as a graphic designer you realize that everything around you isgraphic design. Walking around on the street you see posters, banners, menus in restaurants, etc. The minute you start paying attention to it, itall becomes an endless source of inspiration. Sodefinitely take a look around!


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THE GOOGIE DAYS // Anthony Wood

FUTURISTIC,FLUORESCENTAND FLASHY: THE GOOGIE DAYSWORDS BY ANTHONY WOOD

Googie? I hear you ask. Was that a typo? Even those well-versed in design history might give you a puzzled look. But one of the most recognizable symbols on the planetthe McDonalds logowas born out of this kitsch, playful and futuristic period not serious enough to be considered real architecture.

Its the 1950s: America is optimistic and anything seems possible. The austerity of the depression has lifted and a new world of air-conditioning, fast cars and space travel has replaced it. Technology was erasing seasons, time and distance, and Googie Architecture was a response to this new world.

Googie buildings featured upswept roofs, curves, geometric shapes and generous use of glass, steel and neon. Designs symbolic of motion, such as boomerangs, flying saucers, and atoms, represented American societys fascination with Space Age themes and emphasis on futuristic designs. Googie was TheJetsons in real life.

The term Googie was derived from a West Hollywood coffee shopcalled Googies that was designed by John Lautner, a studentof legendary architect Frank Lloyd Wright. Architecture critic Douglas Haskell used Googie to describe the architectural movement, after driving by the coffee shop and finally feeling like he had found a name for this style he was seeing. Googie was likemodernism at Mardi Gras, or the love child of Coco Chanel andJenny Kee.

What do McDonalds, Frank Lloyd

Wright and The Jetsons have in

common? Plug them into Google

andyou might be surprised to learn

that theres a major connection.

The answer isGoogie Architecture.

Photo credit: University of Nevada, Las Vegas


THE GOOGIE DAYS // Anthony Wood

The baby boom of the 1950s created a rush to the suburbsleaving a trail of urban sprawl behind. The car was now king. Thischange in the way people were living created a new problem for consumers, of long commutes into congested cities, that demanded a solution. Hence, the Strip Mall was born. An ultra-convenient shopping experience where you could drive your car right to the door of the shop, cinema or restaurant. Thisnew approach to shopping brought with it a new set of design problemsto solve.

Taking ideas from modernismwhere form followed functionGoogie buildings took on an additional role where the function wasadvertising. A playful, optimistic slap in the face Im here kind of function with colored, flashing, illuminated and revolving signs; it was a dense graphic corridor of consumerism. They werent just buildingsthey were billboards too!

As Googie expert Alan Hess describes in his book:

The strip environment was as thoroughly shaped to the requirements of car transportation as the piazzas of Italy responded to the needs of the pedestrian. Thereopen air markets and sidewalk cafes were scaled to the walker.

The strip was scaled to the proportions of a person traveling in a car at 30 or 40 mph with a number of distractions.

The rooflines and signs were visible from a distance, the building evolved and increased in detail as the customer approached by car, then foot. Everything was designed in response to this, right downto the door handle.

This response to the car culture is also responsible for the foundations of the worlds most recognizable logo and symbol of American culture: McDonalds. After operating a single outlet for many years, the McDonald brothers asked architect Stanley Meston to create their first franchised outlet in 1952.

They wanted a design that was bold enough to grab the attention of drivers along the cluttered commercial strips, and include an idea that Richard McDonald thought up one nighttwo giant arches. The final design was developed in classic Googie style andincluded two large arches at either end of the building that, when viewed from an angle, formed a letter M.

The buildings were highly recognizable and a huge success. Thefootings of a global franchise had been laid. In 1961 the Micon ofthe distinctive architecture was incorporated into a new logo.

My formal design education swept over this period of design historyfocusing on the classicsthe Bauhaus and the international style. But the hyper-kitsch style of Googie architecture and the graphics that surrounded it have had amassive influence on our graphic history.

From the much-maligned starburst to the crazy elements hangingin midair, cursive scripts combined with sans serifs, bubbling circles, unexpected angles creating a feeling of spontaneity, energy, and tension, dingbats, sparkles and neon created a vernacular that isstill viewed with a fondness by manydesigners today.

Photo credit: amusingplanet.com

1961 McDonalds Logo

Photo Credit: quirkyberkeley.com


STUDIO TOUR // Anti/Anti

Who are the members of your team?

Ros is the founder, Creative Director and designs. Garry is the Account Director and handles pretty much everything not design-related aka all things Ros & Graydon have no desire todo. Graydon is the Managing Art Directoranddesigner.

That is our core team and pretty much every project is touched by all three members at some point. We also often hire design freelancers, copywriters, producers and others on a project-by-project basis. Our intern program is also an important component of the practice, as we always have fresh faces around every semester from all over the world.

How long have you been working together?

Anti/Anti has been around since the Summer of2007 with many great people coming through our doors. We have fluctuated between five and three core members over the last eight years and have inhabited three different office spaces, starting with a tiny windowless office at 580 Broadway inSoho.

STUDIO TOUR:ANTI/ANTIINTERVIEW BY CINDY RODRIGUEZ // PHOTOGRAPHY BY ALEXIS ADANA

What are your main sources of inspiration?

Ros: Im always trying to stay active in learning newthings that may or may not relate to our design practice directly (very much driven by what Im into at the current moment), but theres also the actual day-to-day dance that is the studio where I am much more reactive, and finally there isthe home life that always seems to go last on this list. I think just the act of balancing and managing all these three components of my life successfully, andgetting the most out of each, ismy biggest drive and inspiration.

I love reading interviews from fellow creatives in design, photography, art and tech. I havent been able to put down the last few issues of The Great Discontent magazine by NYC locals Ryan & Tina Essmaker. I just love learning about other artists struggles and how they weave their lives together to make it all work. Its somehow naturally become a passion of mine just to follow others career and life journeys.

Garry: I am constantly inspired by the big picture social developments happening across the globe. Economic policies, international politics, market movementsthey all embody dramatic shifts in our common socioeconomic landscape that reflect millions of micro determinants that

Anti/Anti is a creative agency

specializing in thoughtful design,

independent of medium, industry or

fad. We visited the team in Manhattan

to experience where they design,

think, collaborate and play. It was

incredible to gain insight into their

process, learn about their four pillars

for every creative project and hear

tips for breaking a creative block.



We wanted to leave all of our egos at the door and make sure that everyone at our studiowhether an intern or the creative directorhad a chance to make ongoing projects better without worrying about who the ideas came from, whether or not the ideas would win us design awards or whether we were hurting anyones feelings along the way.

happensimultaneously. Drawing a line, for instance, from how a grassroots art and music micro-culture in Brooklyn helped fuel a residential Brooklyn real-estate boom in the 2000s, influenced a small exodus of cheap rent-seeking creatives to migrate across the Atlantic to Berlin, is an inspiring (and/or terrifying) idea. Real estate, art, technology, industry, government and creative thinkers have never been more interlinked in our ever-growing globalized society. When working on any project, Ilike to think of how the micro fits within the macro.

Graydon: At Anti/Anti we have a wide range of clients and I love the fact that we get to dip into various industries and niches with each new project. I feel its my responsibility to be curious about everything and know about not just designwhich I lovebut also politics, business, the latest trends in tech, fashion, sports, etc. Because design and branding are so much about storytelling and my role at the studio in particular involves pitching tonew and prospective clients, Im always on the hunt for new and interesting ways to tell stories. Im constantly listening to storytelling podcasts on NPR like Snap Judgment, This American Life, Radio Lab and The Moth, and lately Ive been obsessed with pretty much all of the podcasts on Radiotopia. In my opinion, stories are the best, most entertaining way to learn new things and convey ideas.

What does a typical day look like for Anti/Anti?

Ros: I feel that every day at Anti/Anti is a little different for me. It can be a full day of meetings and running around, or an all day brainstorm session for a new project, but its mostly some combination of creative work and more reactive obligations. I find that unless I can get away from the daily blitz and buzz of the to-do list and never ending jumping email icon, its a bit hard to properly digest all the creative challenges for each ongoing project. So I think Im constantly fighting to win some quiet time to get the important stuff done.

By the days end we typically wrap up around 7:00pm, but I often still find myself on the laptop at home working late into the night. Lately Ive been trying my best to curb this behavior, as it often leaves me tired in the long run and my girlfriend grumpy at my lack of mental presence. Ive been flirting with the idea of no technology evenings, where all iPhones and laptops stay off until the morning, but so far its not something Ive fully been able to embrace. Its definitely still aconstant fight in this area of trying to balance that all important life/work relationship.

RichardSpitzer (Loveskills)

hasbeen creating music

under multiple aliases for

overa decade in NYC. His

music has evolved over the

years and weve helped

foster the visual progression

of his album art with his

latest release, Multiplicity.

Released on NoShame

Records, 2013.


Garry: Literally no such thing as a typical day. Myday can start with meetings in the morning with current clients or potential ones. Either way I make my way to the studio, hopefully sometime before noon. From there its a barrage of dealing with time-sensitive tasks. Finances, changing project scopes and strategy shifts happen at the drop of a dime so they need to be dealt with quickly. From 6:00 pm, or the time our clients leave the office, I put in 23 more hours to outlinestrategy and set up new projects.

What are you working on right now? Can you tellus about it?

This year weve done some fun projects for Coca-Cola, Brompton Bikes and a little project forPepsiCo. We also had a chance to design theuniform for the Canadian national cycling champion in Cyclo-cross. At the moment, were currently working on two challenging re-branding projects for a pair of young financial clients. We also have a good working relationship with Warner Music Group and help them with everything from advertising to internal publications and event branding. We also work on a wide range of passionprojects including food, music, and sports.Lots of sports!

What is the objective of your studio?

From day one our objective has been to cultivate an internal culture that rewards a clear focus on project success instead of personal career success. We dont hire anyone whose dream it istoclimb career-ladders and seek attention for theirown personal awesomeness so they can make a million dollars eventually. In our previous lives, weve worked in agencies where people were often trying to get one up on the next guy/girl and office politics rule the working environment, but the actual projects that the agencies were working on would suffer in the long run. The focus was rarely on how do we as a group make this project the best it can be, but often about making sure the right individuals ideas came through, that the right people worked on the right projects, and that the projects could win certain design industryawards.

So from the onset, Anti/Anti was a knee-jerk reaction against that way of doing things. We wanted to leave all of our egos at the door and make sure that everyone at our studiowhether an intern or the creative directorhad a chance to make ongoing projects better without worrying about who the ideas came from, whether or not the ideas would win us design awards or whether we were hurting anyones feelings along the way.

Its always about the process for us and making sure our clients receive the very best work at the end. I think eight years later, we are still pretty much operating with this same mindset and itsbeen going well.

Whats the driving force behind your work?

A desire to create, and tell stories in an honest way. We have a strong aversion to bullshit and believe that most people do too. We live in a unique time in history where a long-standing business can be destroyed with a tweet in under one minute and people generally have amazing bullshit-radars to spot when theyre being taken advantage of. We believe in every one of our clients and in what they do, so we just see our role as keepers of their respective brands, helpingthem navigate the maze of design, mediaand marketing.

Also, every single project has unique industry and technical demands, and two clients are never the same. That constant challenge of working in new industries and needing to learn new things all the time is a huge factor in making sure were never bored at any point. Weve learned 3D software, typeface design, worked on musical scores, all because a certain project demanded it. That may not have been the case if we all had to workin-house for just one brand all these years. Were always on our toes. Its fun.

Tell us about your process.

We used to be reactive and make things up onthefly when we first opened up shop in 2007. There was a lot of figuring things out. Over the years we realized there was a need to be efficient and more predictable with our process, as working until 1:00 am every night was getting old. So we consciously developed processes to help streamline and enhance the way we worktothedelight of our girlfriends.

We now have four basic macro-pillars that are always in place for any project: Research, Ideation, Design and Implementation. Each of these pillars feed into the next and dictate our workflow until the project is out the door. Years ago we began to believe that as an agency, your process is your product. Its that simple. For each pillar we have a unique product that the client can digest and understand without too much fluff. We try to make a lot of our intangible process as tangible and easy to grasp for our clients as possible. Its taken us a long time and a lot of blood, sweat, and tears to develop these products, but weve found that


Spire is a boutique fitness

experience based out of

Milwaukee, featuring cycling,

rowing and yoga. The new

company hired Anti/Anti for

naming ideation, help with

strategically positioning the

brand within the local fitness

space, as well as developing

Spire's entire visual language

and interiors. 2014.


it goes a long way for our clients. Its especially key because not all the people we deal with have great creative imagination and often possess morebusiness-centric minds than us.

During any project our clients are usually as much a part of our studio as our internal team, and they grow and change with us as we progress through any given project, so making sure were all on the same page until the end is more than half the battle in our practice.

Why did you choose this location?

Weve been at this location for five years. Cheapest 1,200 sq foot office space we could find at the time that was central to everything in NYC. The massive skylight that flooded the room with sunlight when we first walked into the space sold us pretty quick.

Ros: We want our studio to feel more like a home and less like an office. We find that the more relaxed everyone feels, the more creative we can be and the more pleasure we all get from being atwork. We try to keep the studio filled with musicand our lights dim.

Another strategy we found that helps is our open door policy: any and all of our friends are always welcome to crash the studio and stop by to hang out or work on their own projects. We find that creativity often breeds more creativity, so we just love being immersed in as much positive energy aspossible from all the people we know, and NYCis great for that.

Any tips for getting yourself out ofacreativeblock?

Ros: Its always about the right mood. If Im not pushing out good ideas or feel stuck, I just change my mood with music, lighting, temperature, or the people that are around me (or lack there of). Idont really believe in actual creative blocks perse. I am more in the Chuck Close camp, I think. I totally buy his view: "Inspiration is for amateurs the restof us just show up and get to work." Its something I believe and dont feel like I spend too much time thinking about. I think working through an idea if you cant get it right is the only way to find a goodanswer.

If Im stuck, I wont sit in front of Facebook for hours worrying and posting about how I am so stuck and frustrated, I will just work and work some more until something decent pops out. Andit usually does if the mood is right and nobodyis bothering me.

Garry: I have one, very specific coffee bar in South Brooklyn where I grew up. I take the trip out there and sit until I get where I need to, or until they close, which luckily is 4:00 am.

What advice would you give to someone starting out in the creative industry?

Ros: Get as much industry experience as you can, as early as you can. Art/design school is sometimes just a daydream and far from the environment you will find yourself when youre finally working. Get internships, get three. It will


change how you see yourself in the context of thedesign industry and your future. It did for mewhen I was younger and starting out.

Garry: Never do something just to get it done. Putting in the time to produce a piece of work that meets your own expectations will set the most important habit when working for yourself. It develops a personal stamp of success and sets your work apart from the industry standards.

Graydon: Surround yourself with people that are smarter than you and more hard working. Both of those things will rub off. Put yourself in situations where youre scared, and always be learning something new at all times. Dont be arrogant andfind a hobby.

Can you tell us an important lesson youve learned so far as a team?

Ros: Play to each others strengths and dont try todo everything yourself.

Dont be afraid to say no to potential projects when your gut tells you its probably a bad idea. Trust your gut, its mostly always right.

Garry: Learning how to work with your team is learning how to trust others perspectives. With trust, you can evolve good ideas into great ones.

Graydon: Saying yes to things we didnt know how to do has resulted in fast learning and the development of new capabilities. Systems are yourfriends and can help you be more creative! Honest people are the best people.

Alone were only as good as our worst skill-set, but together? Were Voltron.

Brooklyn Soda Works is a

natural soda producer based

inNew York City. Upon

experiencing three successful

years of sales at outdoor and

local markets, Brooklyn Soda

Works hired Anti/Anti to help

develop the brands new visual

and communication identity and

launch their bottleproduct in

stores. 2014.


OPINION // Holly Karlsson

Why, you ask? Holly Karlsson, Shillingtons U.S.Director, shares her insights as a designer, anexpat and nowa proud New Yorker.

Oh, New York. As Frank sang, you truly are the citythat never sleeps.

Youre the metropolis that never rests, never stops and is rarely quiet due to an unremitting ebb and flow of harsh reality mixed with aspirational tenacity. The drive required to live here is perhaps why the city has the fastest growing creative sector in America, with far more designers here than any other city.

So, why New York? Why do expats flock here from all over the world? Why are close to 80% of New York creative directors, actually European?

I believe it's got something to do with the magnetic pull of the city. I'm an expat myselfI moved to New York from the UK five years ago and found that, as Tom Wofle put it, "one belongs to New York instantly, one belongs to it as much in five minutes as in five years." I came here to follow my dream of living and breathing in this city. And let me tell youthe Big Apple does not disappoint.

New York is one of the few places where reality totally mirrors the movies. Dont get me wronga lot has changed over the past few decadesbut one thing that hasnt changed a bit is the attitude. And I think thats really what makes this place so attractive to creatives. Its the perfect mix of confidence

and conviction. Its everything you need to start something, keep it going and make something of it.

To live in this city, you need thick skin. To thrive here, it helps to have an entrepreneurial attitude. And to survive here, you must be flexible, resilient ... and have a closet full of all-weather outfits!

For me, New York is comfortable, not strange. Karl Lagerfeld

Im with KarlNew York is my new normal. Any NewYorker will tell you, youll always be drawn back to this amazing place. The city creates a global draw thatis unique, profound and intense.

To escape the city, a metaphorical weight truly lifts. Leaving New York, a sense of quiet and peace consumes me, a ringing in my ears grows and perhaps indicates Im not quite so adaptive to the relentless noise. And yet, after a few days Istart to miss the citys energy, the creative hustle and the harsh reality of life that is ever-present.

My advice as a proud member of this city? Keep calm and love New York. The magnet will always draw you back.

Ones life and passion may be elsewhere, but NewYork is where you prove if what you think intheory makes sense in life. Miuccia Prada

According to recent studies by Center for an Urban Future,

NewYork boasts the largest population of designers in the

entire nation. No other city in the country has as many leading

firms in architecture, landscape design, fashion design, interior

design and last but not least, graphic design.

KEEP CALM ANDLOVE NEW YORKWORDS BY HOLLY KARLSSON // ARTWORK BY TIM HUCKLESBY


OPINION // Holly Karlsson

So, why New York? I believe its got something to do with the magnetic pull of the city.

Elena Stojanova was a fine artist who longed to crystallize her voice as a graphic designer. Originally from Skopje, the capital city

of Macedonia, she now lives and works in New York City. After studying at Shillington, she leveraged her visual arts background

with her newfound technical and ideation skills to become an art director at Havas Life advertising agency.

1. BRAND IDENTITY AND PACKAGING FOR RAKIA

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2. PROMOTIONAL MATERIAL FOR FILM FESTIVAL

3. BRAND IDENTITY FOR THE CRANE BROTHERS

4. TYPOGRAPHY FOR THE HAMILTON WOOD TYPE & PRINTING MUSEUM

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24SEPTEMBERWHAT: BRAND NEW CONFERENCE WHERE: NEW YORK

Hosted by UnderConsideration, this two-day event focuses on the development of corporate and brand identity projects by some of todays most active and influential practitioners from around the world.

Ends 25th September 2015.

20AUGUSTWHAT: FESPA MEXICO WHERE: MEXICO CITY

The leading exhibition of graphic artsin Central America. Fespa Mexico allows visitors to access the latest developments in the printing industry as well as advanced technologies in markets large-format digital printing, screen printing, garment decoration and signage.

Ends 22nd August 2015.

19SEPTEMBERWHAT: LONDON DESIGN FESTIVAL WHERE: LONDON

Staged each year in September since2003, London Design Festival aims to celebrate and promote a broadspectrum of design disciplines across cultural and commercial platforms inLondon.

More than 300 events and installations throughout the capital museums, galleries, shops, studios, showrooms, museums, markets, warehouses andmore.


01OCTOBERWHAT: CREATIVE WORKS WHERE: MEMPHIS

Creative Works celebrates the often overlooked but essential role of creatives in every community. But more than that, its a place to both form and catalyze our own creative communityto learn from one another, have some fun, dream together, and take action.

When like-minded creatives come together, inspire one another, and share their ideas, bigger and better things happen. Be inspired by renowned designers, illustrators and storytellers, attend workshops and browse the vendor marketplace with wares from all over the country.

Ends 3rd October 2015.

12AUGUSTWHAT: TYPECON2015 WHERE: DENVER

TypeCon is an annual conference presented by the non-profit Society of Typographic Aficionados (SOTA), an international organization dedicated to the promotion, study, and support of typography and related arts.

Since the inaugural conference in 1998, TypeCon has explored type for the screen, printing history, Dutch design, type in motion, Arabic calligraphy, the American Arts and Crafts movement, experimental typography, webfonts, and much more.

Ends 16th August 2015.

04SEPTEMBERWHAT: SEX, DRUGS & HELVETICA WHERE: BRISBANE & MELBOURNE

An event like no other. Described as "industry espionage" and "work experience at six studios in one day," its an exclusive look at the highs, the hurdles and the learning curves behind six different projects.

Its insightful presentations. Its unparalleled interviews. Its an opportunity to not only meet and talk with our speakers, but to be surrounded with other like-minded creatives.

4th September 2015 in Brisbane. 11th September 2015 in Melbourne.

25SEPTEMBERWHAT: DIGITIZED15 WHERE: ATHENS

Digitized is a series of events that includes several workshops and a conference, taking place once a year in Athens, Greece. Its purpose is to bring together, inform and inspire the digital design community. Now on its fifth year, Digitized is a dynamic and exciting event that has never fallen short of exciting its audience.


24AUGUSTWHAT: SEMI-PERMANENT WHERE: MUMBAI

Semi-Permanent is a creative platform spreading art and design inspiration. It consists of a conference and side events which include exhibitions, competitions, workshops and parties.

Its a week long celebration of all things design. Graphic Design, Film, Art, Illustration, Web Design, Photography, Visual Effects, Animation, Graffiti, Motion Graphics, Stop Motion; all these things and more.

Ends 27th August 2015.

CALENDAR:JULY 15 DEC 15

01OCTOBERWHAT: BRIEF FESTIVAL WHERE: MADRID

Brief Festival is a celebration of creativity, a collection of inspiration that brings together some of the best graphic design professionals in Madrid. Enjoy lectures, workshops, meetings, screenings, exhibitions and more.

Ends 31st October 2015.

14OCTOBERWHAT: ATYPI CONFERENCE WHERE: SAO PAULO

The theme of ATypIs 2015 conference is Challenges, which invites attendees to explore not only the many challenges faced in contemporary type design and visual communication, but also strategies forhow we might best address themhow we challenge the obvious and strive toward innovation.

Insights on type-related issues are welcomed from educational, technological, historical and practicalperspectives.

Ends 17th October 2015.

16SEPTEMBERWHAT: MELBOURNE FRINGE WHERE: MELBOURNE

Melbourne Fringe provides artists with the tools to develop, present and promote their work, creating a community of audiences and artists that together represent a national artsnetwork.

Each year artists from a wide scope of art-forms and experience join the Independent Arts Program to developand present their work aspartof the Festival.


08OCTOBERWHAT: AIGA DESIGN CONFERENCE WHERE: NEW ORLEANS

The AIGA Design Conference brings the design community together to experience provocative speakers, local culture, nightly networking receptions, competitions, exhibitions, professional development sessions and face-to-face roundtables with your design heroes.


14OCTOBERWHAT: FRIEZE LONDON WHERE: LONDON

Frieze London is the contemporary art event of the year. This years edition will present more than 160 of the worlds leading contemporary galleries, from almost 30 countries.


07SEPTEMBERWHAT: REASONS TO BE CREATIVE WHERE: LONDON

A festival for artists, designers, coders and creative minds, Reasons to be Creative returns to the sunny British seaside town of Brighton. Every year a stellar line up of passionate, international speakers and attendees flock to the south coast city to share mindblowing stories of creativity.

If youre looking to remember why you got into design in the first place, this is the event for you.


16SEPTEMBERWHAT: BRAND IMPACT AWARDS WHERE: LONDON

Dedicated to the craft of branding in all its forms, the BIAs judge work according to its market sector, across both branding programs and branded campaigns with a discerning judging panel of commissioners and creative directors from both client-side and agency-side.

17SEPTEMBERWHAT: GENERATE LONDON WHERE: LONDON

The conference for web designers. Gain from the invaluable experience and knowledge of some of the biggest names in web design, including Mike Monteiro, Oliver Reichenstein and Karen McGrane, as well as some brilliant rising stars.


SHILLINGTON IS A PROGRESSIVE DESIGN INSTITUTION PROVIDING COURSES AROUND THE WORLD. TURN YOUR PASSION INTO A CAREER

IN JUST 3 MONTHS FULL-TIME OR 9 MONTHS PART-TIME.

shillingtoneducation.com

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