Please apply via our online form, here. The deadline for applications is midnight on Monday, April 11, 2016. Participants will be notified no later than Friday, April 15. If you have further questions, please write email@example.com. Read a conversation between participants in 2014’s program here.
What: A two-week program in the history and contemporary practice of publication.
Where: At Triple Canopy’s offices in Brooklyn and various arts spaces around New York City.
Cost: Tuition is free, though participants must arrange and pay for their travel and accommodation. All reading and viewing materials will be provided free of cost.
Triple Canopy is pleased to announce its second Publication Intensive, a two-week program in the history and contemporary practice of publication, for twelve higher-level college students, graduate students, and recent college graduates. We invite applications from prospective students with backgrounds in areas such as writing, art, literature, art history, new media, and design. During the Publication Intensive, Triple Canopy editors and invited artists, writers, and technologists will lead discussions and workshops with participating students, who will research, analyze, and enact an approach to publication that hinges on today’s networked forms of production and circulation but also mines the history of print culture and artistic practice. The program will take place at Triple Canopy’s venue in Greenpoint, Brooklyn, and will include visits to studios of artists and designers, archives, and cultural institutions.
Can design advance science, and can science advance design?
On Monday evening Jason’s Seminar in Design class will be hosting a guest lecture by Ian Lynam, a Tokyo-based designer, educator, and writer. Ian will be presenting on “The Winners and Losers of History: The Emergence of Japanese Modernism in Graphic Design”. Here are the details and a bio:
Monday, February 1
Originally hailing from New York, Lynam has a BS in Graphic Design from Portland State University and an MFA in Graphic Design from CalArts.
Ian Lynam is Chair and faculty at Vermont College of Fine Arts in the MFA Graphic Design program. He is faculty in Tokyo at Meme Design School. Ian is also adjunct faculty at Temple University Japan. There, he teaches in the Undergraduate program, actively engaged in developing curricula concerning typography, graphic design, image-making, identity design, UI/UX and motion graphics.
by Juliette Cezzar
Why is so much of design school a waste of time?
Q: My teacher hates everything I make, even though I spend all this time working on it, and gets mad even when I follow his advice. Sometimes designers who are working come to talk to us, but they never get what I’m trying to do. There’s all this useless talking when they should just teach us things. Should I just quit school and go work somewhere? I feel like this is a waste of time.
Dear design student,
Sure, you can leave, but you’re going to take your inability to use criticism with you. And then you will be back here in about six months asking why your clients keep getting in your way or whether or not you should go find a better job with smarter people. So my advice is that if you can, stay where you are for as long as it takes for you to figure this out. You don’t have to go to school to figure out how to give and receive criticism, but it’s mostly what happens in school, so it’s a good place to practice.
I was terrible at it, so I didn’t even begin to figure it out until I was halfway through graduate school. Critics would come up from New York and the most I could get out of them were expressions of sympathy or open frustration. They would get away as soon as it was politely possible and sneak back to the desk of my then best friend and mortal enemy, scribbling down their phone numbers and breathlessly asking if they could talk more with him later.
This made no sense to me. Especially early on, his work was half-baked and sometimes awful. But over two years, he became ten times the designer he was when he started, while I was pretty much in the same place. And I watched him do it. When people came to his desk, everything about his expression and body language said “tell me more,” as if the critic was spoon-feeding him ice cream rather than telling him everything that was wrong with his work. As for me, I was set on being me, which meant tearing the work apart before anyone else could, offering up detailed excuses to fill the time, and arguing with my critics, building my case that I was smarter than them anyway, since they clearly didn’t get what I was doing. And I spent the rest of my time complaining that maaaybe ten percent of what they said was useful, when in my mind, the yield should have been far closer to one hundred percent.
So here’s the secret that I didn’t put into practice until after I graduated: you’re a gold miner, not a customer, and if you don’t get good at mining for gold, you will never be a good designer. Especially once you make it past the first year or two of working, you spend less time wrestling with making things and more time listening to people in person, on the phone, in slack, in texts, in email, pretty much everywhere where they can find you. They are redundant, inarticulate, inefficient, vague, and inconsistent, and they are constantly going on and on about something. And god bless them. They don’t owe you clarity. If ten percent of what they say is useful, that’s a win. Your job as a student is to practice figuring out which ten percent is useful, how to mine it, and how to use it. This is what school is for. If you want to learn how to use digital tools, talk to the internet.
You’re also thinking here that success in a critique means that people like what you made, and that success in the next critique is showing how obedient you are in following their suggestions. You’re missing the point. It’s a gift exchange, not an oral exam, and if you don’t get past this in school, you will be condemned to repeat it after you leave. You’ll go to one client meeting and walk out mad that they didn’t like what you made, then you’ll grumpily make their suggestions real and bring them in for the next round, and get mad again when they still don’t like it. You will complain to your friends about “pushing pixels” and how dumb clients are. And you will be as good a designer at 32 as you were at 22, maybe slightly worse.
You have to let go of sorting people into “good” people who like what you do and “bad” people who don’t, and you have to start to seek out people who don’t see things exactly as you do. The hero in your life is never going to be the person who pats you on the head: it’s going to be the person who puts their own need to be liked aside to make you a better designer. And no, someone doesn’t need to understand you or your project 100% before they have the right to say anything about it. The person who doesn’t get you or what you made is the one that is most likely to come up with the idea or the insight that you can’t come up with on your own. People who see things differently are gold.
So next time someone is giving you feedback about something you made, think to yourself that to win means getting two or three insights, ideas, or suggestions that you are excited about, and that you couldn’t think up on your own. Lead the conversation until you get there. Ask real questions that tell you something that you didn’t know already. Say “tell me more.” Let them wander, tell stories, not understand, be irrelevant — take as long as it takes to listen for the pieces that make you better.
And if they are hard on you, keep coming back to them. As my favorite client once said to someone working for him, “Is this it? Is this as good as you want to be? Are you done? Because if you are done, and you don’t want to be any better, I can stop talking. But if you’re not, I’m here for you.”
Juliette Cezzar is a designer, educator, and author based in New York City. She is currently the Associate Director of BFA Communication Design at The New School’s Parsons School of Design and President of AIGA/NY. Her most recent book, with Sue Apfelbaum, is Designing the Editorial Experience.
Film stills courtesy of the Herbert Matter World Game Archive at Stanford University Libraries.
Columbia University Graduate School of Architecture, Planning and Preservation
Information Fall-Out: Buckminster Fuller’s World Game extended
September 18—November 20, 2015
Arthur Ross Architecture Gallery
Buell Hall, Columbia University GSAPP
1172 Amsterdam Ave
New York, NY 10027
Hours: Monday–Friday noon–6pm, Saturday 3–6pm
Columbia GSAPP Exhibitions presents Information Fall-Out: Buckminster Fuller’s World Game, an exhibition at Columbia University’s Graduate School of Architecture Planning and Preservation.
Initially proposed for Expo 67 in Montréal, Buckminster Fuller’s World Game was played for the first time in 1969 at the New York Studio School for Drawing, Painting, and Sculpture. Over the next decade, the World Game evolved and expanded through workshops, seminars, strategy papers, and building designs. Across its different manifestations, the World Game remained focused on the goals of overcoming energy scarcity and altering conventional territorial politics through the redistribution of world resources. This anti-Malthusian, anti-war game was meant to discover conditions for perpetual ecological peace and to usher in a new era of total global resource consciousness. Mirroring Cold War command and control infrastructures, proposals for World Game centers described a vast computerized network that could process, map, and visualize environmental information drawn from, among other sources, Russian and American spy satellites. Fuller claimed that their optical sensors and thermographic scanners could detect the location and quantity of water, grain, metals, livestock, human populations, or any other conceivable form of energy. Among Fuller’s abiding obsessions was the limited range of the electromagnetic spectrum available to human vision. Fuller argued that the World Game would serve as a corrective to this limitation by rendering visible global environmental data patterns that evaded normal perception.
Assembling documents related to various iterations of the World Game conceived, proposed, and played from 1964 to 1982 along with materials from the World Resources Inventory, the exhibition examines the World Game as an experimental pedagogical project, as a system for environmental information, and as a process of resource administration. A related symposium will bring together scholars and architects with Fuller partners and collaborators to speak about the World Game in relation to its ecological, informational vision, and to the current stakes for environmental data and its representation.
The exhibition is curated and designed by Mark Wasiuta, Director of Exhibitions and Co-Director of the Critical, Curatorial, and Conceptual Practices in Architecture Program, and Adam Bandler, Exhibitions Coordinator at Columbia GSAPP. Florencia Alvarez Pacheco is assistant curator.
For more information, please send an email to firstname.lastname@example.org.
The Arthur Ross Architecture Gallery at Columbia University’s Graduate School of Architecture, Planning, and Preservation (GSAPP), provides a platform for developing original curatorial projects and for experimenting with the spatial distribution and visual organization of research material. The gallery is simultaneously a testing ground for exploring new approaches to architectural exhibitions, and a space for considering and analyzing architecture as it has been formed through exhibition. Its exhibition program follows several distinct series. “The Living Archive” interrogates and exposes important and underexamined architectural archives, while other exhibitions resulting from collaboration with contemporary artists, architects, and scholars aim to provide models for novel forms of architectural speculation and spatial practice.
Make sure to see Graphic designer Michael Bierut’s exhibition at the SVA Chelsea Galleries, up now through Nov 7. You will see a coherent body of thoughtful work, including logos, visual identity systems, posters, books, way-finding and building signage, as well as pages from the designer’s sketchbook, a video interview and a roomful of black-and-white posters for the Yale School of Architecture. Absolutely gorgeous! Read an interview with the designer here.
Designer and Parsons professor (and former Mason Gross instructor) Juliette Cezzar offers an insightful definition.
Norges Bank has announced that designs by two Oslo studios have been chosen to feature on Norway’s new banknotes, which will come into circulation in 2017. Snøhetta’s design for the reverse of the notes features a pixellated image of the country’s coastline, the amount of distortion depicting the wind speed as it whips up with each denomination…
Earlier this year, eight designers were invited to submit proposals for Norway’s new banknote design on the theme of ‘the sea’. Today, the central bank of Norway announced that designs by The Metric System and Snøhetta will be used on the obverse (full set shown bottom of post) and reverse sides of the banknotes, respectively.
May 1, 2014-June 18, 2014
On view at the AIGA National Design Center (May 1–June 18)
Interest in type, typefaces, typography and fonts has grown far beyond the graphic design community, yet few truly understand how and why these vital components of design are created and applied. This exhibition, organized by Monotype and designed by AIGA Medalist and Pentagram partner Abbott Miller for the AIGA National Design Center, celebrates 100 years of type as a constant influence in the world around us.
Gathering rare and unique works from premier archives in the United States and London, “Century” will serve as the hub of a series of presentations, workshops and events held at the AIGA gallery as well as the Type Directors Club and the Herb Lubalin Study Center of Design and Typography at Cooper Union in New York City. The “Century” exhibition features a range of artifacts representing the evolution from typeface conception to fonts in use. Typeface production drawings by the preeminent designers of the last 100 years, proofs, type posters and announcement broadsides are supplemented by publications, advertising, ephemera and packaging.
Designers Ken Meier and Yoonjai Choi, founders of Common Name, will give a talk on Wednesday March 12 at 4:30 in CSB 220. Common Name is a New York-based graphic design studio, producing remarkable print, interactive, identity, and exhibition work for the arts and cultural sector.
Run, don’t walk, this exhibit is about to close. Image of the Studio: A Portrait of New York City Graphic Design. At the Cooper Union in NYC.
Anthony Sheret/Edd Harrington/Benjamin Critton
Tuesday, September 24
1:00 p.m. – 2:30 p.m.
Civic Square Building Rm 220
This event has no image but a special remark from Gerry, I’d definitely consider attending.
September 21 – November 10, 2013
Opening: Friday, September 20, 6 – 8pm
Artists Space : Books & Talks
55 Walker Street
British graphic designer Richard Hollis (born London, 1934) is a seminal figure in postwar design and communication. Working consistently since the 1950s as a freelance designer, Hollis has also authored influential books on design history and theory. His practice has placed emphasis on close collaboration with those commissioning his design, including writers, editors, artists, curators and architects. An overriding concern for the effective and economic communication of the client’s message has been consistent throughout his work.
This exhibition, curated by design historian Emily King with designer Stuart Bailey, is the first overview of Hollis’ work in the US. Consisting of over 150 items drawn from the designer’s personal archive including finished pieces, layouts, and notes, it reflects his entire professional life. Hollis was greatly influenced in the 1950s and 60s by travels to Zurich, Paris and Cuba, his production during this time revealing the impact of Swiss modernist design and Concrete art, alongside that of left-wing politics. In the mid-1960s he co-founded with Norman Potter a new School of Design at West England College of Art, based on experimental teaching principles, and worked as art director and designer of journals including New Society and Modern Poetry in Translation, the last of which Hollis went on to design for a period of 40 years.
Over these four decades, Hollis also worked for numerous publishers, including freelance for Penguin, and as art director at the left-wing publisher Pluto Press. In 1972 Hollis was one of the team of five that produced the book of John Berger’s BBC TV series Ways of Seeing. This significant project crystallized ideas around the ideological function of visual images, forming a critique of representation that was extended into the innovative relations between image and text in the publication. Hollis also collaborated with Berger on the design of the novel G. (1972) and the study of migrant workers A Seventh Man (1975), produced with the photographer Jean Mohr.
For a period of seven years in the 1970s and 80s, Hollis worked for the Whitechapel Gallery in London establishing a coherent system of communication for the gallery that has subsequently become a touchstone for the manner in which art institutions adopt a graphic identity. Since then he has worked for many other public and private art galleries, and along the way forged long-standing relationships and collaborations with several artists, most significantly British Op artist Bridget Riley. Consistent across his five decades of work as a designer has been a commitment to writing on design, including the key text Graphic Design: A Concise History, published by Thames & Hudson in 1994, and Swiss Graphic Design published by Laurence King in 2006. His writing for magazines, journals and newspapers, alongside letters and lecture outlines, have recently been compiled into About Graphic Design, published by Occasional Papers in April 2012.
Richard Hollis is curated by Emily King with Stuart Bailey. Exhibition furniture design by Simon Jones. The exhibition was first presented at Gallery Libby Sellers, London, in 2012, and toured to ECAL, Lausanne and Centre Pompidou, Paris.
A Video Lecture
Sunday, September 22, 3pm
The Truth About Hollis
Thursday, September 26, 7pm
This exhibition is supported by Graham Foundation for Advanced Studies in the Fine Arts; The New York State Council on the Arts, a State Agency; public funds from the New York City Department of Cultural Affairs, in partnership with the City Council; and The Friends of Artists Space.
Designers are creators, yet must also respond to the needs of their clients. Is there a tension between a designer’s self-expression and the success of their enterprise? How do designers address this tension, if it exists? The goal of this conference is twofold: to inspire attendees to think critically about the role of self-expression within design, and to give an opportunity for speakers to reflect on their personal journeys as designers.
Story, Princeton University’s fifth-annual graphic design conference, invites celebrated designers along with students and faculty members from all across the nation to confront these questions.
This interview directed by Mario De Armas gives a look into the work process of Henry Hargreaves Fashion / product photographer and his work with Jessica Walsh. Produced by Josh Meckes and Sandbox Studio.
If you have any thoughts of attending a graduate program in design down the road, this upcoming AIGA event might be a great way to see what students are doing at various schools. At the SVA Theatre in NYC, students from MICA, NYU Interactive, Parsons, Pratt, RISD, the School of Visual Arts, Cranbrook and Yale will gather present their projects. Tickets are $10 for AIGA members, $30 for non-members. So maybe this is the time to join AIGA. See the benefits list and join as a Contributor for $50. Choose New York or Philadelphia as your chapter. You’ll have a chance to indicate you are a student; we are on the school list as “Rutgers University — New Brunswick”.
MIT Press Journals has put the complete collection of almost 30 years of Design Issues covers on a Pinterest page. You can see them at the following url:
The latest group to receive AIGA’s lifetime achievement award. These are nationally and globally prominent designers specializing in type design, innovative design practice, design criticism and design for social change. Read their bios and see their work.
An excellent survey of the past 14 years across all the design disciplines, including architecture, product, graphic, interaction and fashion design.
Hinterland is a New York-based multidisciplinary design studio that creates books, magazines, brochures, identities, packaging, illustrations, and more. Consider contacting them about a summer internship.
Graphic Design USA magazine announced its survey of the most influential graphic designers working today. Take a look at the list, and the work of these significant contemporary designers throughout the country. Do you agree with their choices?
Debunking the misconceptions, half-truths, and dangerous mythology of creativity.
Today the City of New York manages over 11,000 payphone kiosks across the five boroughs – and we know that with the rise of mobile phones and digital media, the way that New Yorkers share information is changing rapidly. In order to modernize our powerful communications infrastructure, the City of New York is hosting Reinvent Payphones, a public design challenge that seeks to rally urban designers, planners, technologists and policy experts to create physical and/or virtual prototypes that imagine the future of payphones.
Have ideas on how New York City can reinvent payphones to create a safer, healthier, more sustainable, accessible and informed city? Submit your prototype by February 18th and you could help to shape the City’s future.
Have your work seen by the entire AIGA design community and judged by distinguished AIGA Medalists!
Take part in the AIC College of Design Cincinnati Student Chapter’s First Annual My Favorite Medalist Challenge.
Candy Chang … Design 21 Social Design Network … Design Ignites Change … Design Matters at Art Center, Pasadena CA … Design Trust for Public Space … Pellegrino Collaborative … Project H … Part of It … Andrew Shea: Designing for Social Change … Sappi: Ideas that Matter … Social Innovators Collective … GALEWiLL Center for Opportunity and Progress
There has been much discussion surrounding the cover of the new David Bowie album The Next Day so thought I would answer a few questions that people have asked about it.
– Why not a new image for the cover?
We wanted to do something different with it – very difficult in an area where everything has been done before – but we dare to think this is something new. Normally using an image from the past means, ‘recycle’ or ‘greatest hits’ but here we are referring to the title The Next Day. The “Heroes” cover obscured by the white square is about the spirit of great pop or rock music which is ‘of the moment’, forgetting or obliterating the past.
However, we all know that this is never quite the case, no matter how much we try, we cannot break free from the past. When you are creative, it manifests itself in every way – it seeps out in every new mark you make (particularly in the case of an artist like Bowie). It always looms large and people will judge you always in relation to your history, no matter how much you try to escape it. The obscuring of an image from the past is also about the wider human condition; we move on relentlessly in our lives to the next day, leaving the past because we have no choice but to.
– Why “Heroes”?
If you are going to subvert an album by David Bowie there are many to choose from but this is one of his most revered, it had to be an image that would really jar if it were subverted in some way and we thought “Heroes” worked best on all counts. Also the new album is very contemplative and the “Heroes” cover matched this mood. The song Where are we now? is a comparison between Berlin when the wall fell and Berlin today. Most people know of Bowie’s heritage in Berlin and we want people to think about the time when the original album was produced and now.
– Why the white square obscuring the image?
We worked on hundreds of designs using the concept of obscuring this cover but the strongest ones were the simplest – it had to be something that was in direct contrast to the image underneath but that wasn’t too contrived (we know all design is contrived, that is the essence of the word ‘design’). It would have been clearer to many people if we had scribbled all over the cover but that didn’t have the detachment of intent necessary to express the melancholy of the songs on the album. Obscuring Bowie’s image is also reference to his identity, not only in the past when he changed endlessly but that he has been absent from the music scene for the past ten years. Was this an act to hide his identity or that he has simply become more comfortable with it?
– Why is there no colour?
The title of the album The Next Day evokes numerous reference points, notably Macbeth’s speech ‘Tomorrow, and tomorrow and tomorrow ’ which deals with the relentless onward push that any unnatural position of power requires. It also has the existential element of Waiting for Godot with waiting for The Next Day – these all seem to question the nature of existence so a monochrome palette seemed most appropriate to this feeling.
– Why didn’t you do a logo, or new design of his name on the cover?
We wanted the cover to be as minimal and undesigned as possible, we felt the most elegant solution was to use the original one from “Heroes” and simply cross out the title of the old album. It has the detachment appropriate for the atmosphere of the new album.
– What is the font you used for the main title?
It is a new font that we are working on called Doctrine – this is the first major use of it. Doctrine will be released in the coming weeks at VirusFonts.
– What is Bowie like to work with?
He is quite a private person, so no need to say too much about him other than that he is a pleasure to work with. Very intelligent, funny, serious when he needs to be and generous in his thoughts and actions.
– Is there anything else you can add?
Yes, having said all this, we know it is only an album cover with a white square on it but often in design it can be a long journey to get at something quite simple which works and that simplicity can work on many levels – often the most simple ideas can be the most radical. We understand that many would have preferred a nice new picture of Bowie but we believed that would be far less interesting and not acknowledge many of the things we have tried to discuss by doing this design. Finally we would like to give David Bowie great credit, he simply did what he always does which is to go with a radical idea and that takes courage and intelligence. That is why we love his music and love working for him.