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Michael Bierut :: semicolon
Poster Title: Semi Colin
Thoughts regarding semicolons: I am actually a big fan of the semicolon, having discovered it early in the 6th grade. I thought it automatically conferred a sense of depth and complexity to one’s writing, and by extension, thinking. It was as if one just had so many thoughts that they came attached to each other; as if one just grew from the other. I got it out of my system, sort of.
The inspiration for this poster: Mad Magazine and the world of bad visual puns.
Business card title: I have no title on my business card, which lets me do whatever I want.
Heroes: Moss Hart, David Ives, Stanley Kubrick, Preston Sturges, Errol Morris, Veronica Geng, Cole Porter, Bud Powell, Bob Dylan, all my partners, my wife and three children.
First job: My first printed project was a poster for Wait Until Dark that I did in the 9th grade. My first paying job was mixing rubber cement in a production art house in Cleveland called, Pitt Studios. My first real job was working as a junior designer for Massimo Vignelli in 1980.
Favorite project: A series of black and white posters for the Yale School of Architecture: one color, one size, lots of type, lots of typefaces.
Special thanks to: Pentagram intern Jacob Shamberg
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Steven Brower :: slash
Poster title: Slash
The inspiration for this poster: In today’s culture the term has taken on a new meaning, thanks mainly to Hollywood. Since the name of this punctuation mark has become a double entendre, I decided to play off of that. My inspiration was horror film posters and mass-market book covers.
Original Medium: My primary material was torn paper. real and imaginary stimulations: I can be inspired by pretty much anything, musical, visual, real or imagined.
Thank god that’s over: My first professional experience was working at a studio that did signage for department stores — 50%off!
Favorite project: My favorite project is always the next one.
Thoughts regarding slashes: I very much like the fact that slashes bring things together.
Modest concern: My hope is that I have not demeaned the humble slash.
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Marcos Chin :: caret
Poster title: Untitled
The inspiration for this poster: When I began this
piece I was interested in the idea that the carat was used
in grammar to imply a tone or sound. So as I began
sketching I thought turning this mark into wind chimes
would be interesting. Throughout that process, I looked
mostly to Japanese prints for inspiration, especially images
of Japanese landscapes.
Business card title: Marcos Chin Illustration.
Point of origin: I was born, in Mozambique, Africa, but was raised in Toronto, Canada.
Fav ravs: Egon Shiele, Anita Kunz, Yuko Shimizu,
Hokusai and Yoshitaka Amano, graffiti, music videos,
fashion, comics, animé, toys, traveling.
First job: I think spray painting and drawing a hip hop
version of “Plucky Duck” from Tiny Toons on the back of
my friend’s denim jacket when I was 13 years old, might
have been one of my first paying gigs.
Missions accomplished: Quitting my retail job after art
college to pursue my illustration full time. Completing a
“circus workshop” where I learned to fly on a trapeze.
Thoughts regarding carets: I never knew the
grammatical purpose of carats, in fact, I never even knew
its name. Now I know that the origin of the carat is Greek
grammar.
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Seymour Chwast :: parenthesis
Poster title: Parentheses hold information that is
incidental but important. That is why I titled my piece,
“Significant Aside.”
Original medium: My poster is a reproduction of a print
from a woodcut that I carved. For me, a woodcut offers
happy accidents and spontaneity that I cannot achieve
through drawing. The background is computer generated.
The inspiration for this poster: I was inspired by
advertising, love potions, movies and my three marriages.
Nom de plume: I design and illustrate under my studio
name, The Pushpin Group.
First job: My first job was for the New York Times.
With a little help from his friends: In 1954,
I formed Push Pin studios with Milton Glaser and
Ed Sorel. My graphics and illustrations have been used
in advertising, publishing and corporate design.
Thoughts regarding parenthesis: What happens
between parenthesis adds to, or qualifies, the rest of the
message. The associative meanings of marks give them a
character that defies their puny appearance. Without
punctuation words are meaningless.
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Roberto de Vicq de Cumptich :: brace
Poster title: Braces
The inspiration for this poster: Teenage angst.
Original medium: Illustrator CS
Brief occupational history: I am a Senior Art Director and Vice President at HarperCollins, where I oversee the design of more than 800 book titles a year, personally designing between 100 and 150 annually. When that’s not enough, I moonlight on projects like this.
Points of origin: Born and educated in Rio de Janeiro, and further matriculated at Pratt Institute, where in 1984 he completed an MFA in painting.
Reasons for living: Language, type and friendship.
The winding road to professional respectability: Designing annual reports for ghost banks in the Bahamas, and cheap magazines like Your Prom.
This space reserved for unbridled self-promotion:
In 2000, I illustrated and designed Bembo’s
Zoo, an abecedary featuring a menagerie of animals, each created from the letters in its name, using the font, Bembo. I even created a type portrait of myself to serve as my “author photo.” The book was a success, and resulted in a collaboration with Matteo Bologna on an interactive website, bemboszoo.com.
Thoughts regarding braces: The next time I set something apart within a sentence by surrounding the two parts with this mark, I can say “that, is an ‘in-brace.’”
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Steff Geissbuhler :: question mark
Poster title: Untitled
Thoughts regarding the question mark: The words “Question mark” already contain the word “Quest”. A maze exemplifies the mark and the quest of finding your way through it. Every question leads usually to others. A well thought out question usually solves half the problem.
Favorite questions: To be or not to be? Knock, knock. Who’s there? Why did the chicken cross the road? Who, what, when, where and why?
Old yet pertinent joke: A chicken and an egg are in bed after having sex: Says the egg, while smoking a cigarette: “I guess that settles that question!” (Or was it the chicken that said it?)
Business card title: Since I’m a “one-third owner” of the design firm Chermayeff & Geismar Inc., my business card says “Principal,” but I’m really a graphic designer.
How half the day is spent: Managing the office and projects, writing proposals and attending client meetings takes up at least half of my day.
How the other half of the day is spent: Spelling my name and that of the firm.
Muses: Armin Hofmann, Emil Ruder, Alberto and Giovanni Giacometti, Henri Matisse, Hans Arp, Herbert Matter, Herbert Leupin, Celestino Piatti, Wim Crouwel, Alan Fletcher, Colin Forbes, Ruedi DeHarak and my two partners, Ivan Chermayeff and Tom Geismar.
Reasons for living: Life, books, nature and my four sons.
Bi-lingual insight: In Spanish, an upside-down question mark announces a question and finishes it with one right-side up.
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Alexander Gelman :: exclamation point
Poster title: Untitled
Buildings housing the work: My work is housed in the permanent collections of the MoMA, Cooper Hewitt, and Bibliothèque National de France.
Brands that believe what I say: As the founder of Design Machine, I consult to Absolut, MTV, Pepsi, Shiseido and Swatch.
Ivy league entanglements: As an educator, I am involved with Yale, and MIT Media Lab.
Bona-fides to jack-of-all-trades: I direct commercials and music videos, as well as teach, lecture and write on design, lifestyle and contemporary culture. My best-selling book, Subtraction, 2000 (Rotovision UK), has been acclaimed as a “modern day classic.” Editions of my new book, Infiltrate, 2004 (BIS Publishers Amsterdam), are available in English, French and Japanese.
Most “over-the-top” quote: In 2001, The Museum of Modern Art listed me as one of the “world’s most influential modern and contemporary artists in all media.”
Thoughts about exclamation points: An exclamation point indicates a word, phrase or sentence that is shouted out suddenly, often through surprise, anger, or excitement. Its role is to draw attention to something other than not to itself. Lamps are a frequent subject in my work. In this case it was used because of its nature to draw attention, to throw a light on something other than itself, as well as its connection to reading. Above all, the shape of the lamp resembles the shape of an exclamation point.
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Carin Goldberg :: Ellipsis
Poster title: Life…death
The inspiration for this poster: Cliché.
Original medium: Computer. career path rationalization: About 30 years ago, I went to art school at The Cooper Union. I wanted to be a painter, but decided early on that I didn’t want to have dirty fingernails and smoke unfiltered Camels all alone in a cold tenement with periodic bouts of existential hallucinations, self-doubt and depression where there was only the sound of one hand clapping. So I decided to become a graphic designer and have bouts of existential hallucinations, self doubt and depression with the sound of a few hands clapping, heat, and nice sheets and towels.
Early mentors: I started out in the design department at CBS Television under the tutelage of the legendary Lou Dorfsman, and later moved on to CBS Records (now Sony), where I worked under the tutelage of Henrietta Condak and Paula Scher.
Maverick moves: Having had enough of sexist, bureaucratic, incestuous, corporate life, I started my own business, working independently for ridiculously low fees and relatively no respect — but at least I get to wear sweat pants and watch TV while working.
Bodhisattva-in-training: I taught Senior Portfolio and Typography at the School of Visual Arts for over 20 years where I trained students to be better designers than me. thoughts regarding the ellipsis: At first my mark seemed to be kind and gentle, and even spoke French. Then I found out it was voting for Bush, so currently we’re not speaking. Ultimately, the ellipsis encourages laziness.
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Kent Hunter :: Colon
Poster title: re:colon
The inspiration for this poster: Dice Big, funky, handmade ones. Beautiful ivory and marble ones. Tiny, tiny ones. Giant ones from carnivals. Beyond just fuzzy or Vegas dice.
“Ah-ha!” moment concerning this project: That all these years I’ve been collecting dice, I’ve also unwittingly been collecting colons.
Original medium: A digital camera and my partner Ali on Photoshop.
Business card title: Kent Hunter, Executive Creative
Director and Partner
Made in the lone star state: I was born and bred in Abilene, Texas.
Reasons for living: Art, architecture, travel, my iPod.
First job: Assistant Art Director of Nashville! magazine. It was a great place to learn about deadlines, but I always hated that exclamation mark!
Favorite project: I’ll always have a special place in my heart for a Time Warner annual report I designed with a huge WHY? on the cover.
Other mark-driven projects: One year, for Duracell’s annual report, we placed a + on the front cover and a – on the back—in copper and black, of course.
Thoughts about colons: Where would gift tags be without the colon?
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Mirko Ilic :: @
Poster title: @-ray
Where it’s @ with this poster: I wanted to symbolize the @ symbol. I thought @ is at the heart of it all now. Everyone is @. This symbol has become part of our daily existence.
Original medium: Maya and Photoshop
Point of origin: I was born in Bosnia, and mostly grew up in the city of Zagreb, in Croatia.
Greatest achievement: My greatest personal achievement is that I am still alive.
Second-greatest achievement: Being interviewed by Milton Glaser for Graphis.
First job: My first professional job was painting seat numbers on six thousand seats in a soccer stadium.
Thoughts regarding @: Ten years ago, hardly anyone was using this symbol. Now it’s everywhere. It’s even used more often than the dollar sign.
Type @ personality: When I was searching through typefaces for a great @ symbol, I can to realize that this symbol is not well-designed in most typefaces. I also couldn’t find an italic version.
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Alexander Isley :: Percent
Poster title: Per Cent
The inspiration for this poster: To interpret the “%” sign so that is would convey some sense of what it means —of one hundred—in a simple yet unusual way. original medium: This poster was created as a digital file. The typography is customized.
Kalman University graduate: I began my career at the influential M&Co. and then went on to be the Art Director of Spy magazine. In 1988 I founded my firm, Alexander Isley Inc.
Fizz and fashion: My clients include PepsiCo, Giorgio Armani, The NEA, The Rock & Roll Hall of Fame, BAM, and Nickelodeon.
Fiscal restraint is the mother of invention: My work often relies on typographic inventiveness due to my clients’ ever-tightening budgets.
Building housing the work: My work is in the permanent collections of MoMA, The Smithsonian Institution, and the Library of Congress.
Working method: I often begin a design assignment by writing a list of words or phrases on which to build my idea. I find that if I can define or explain what I’m trying to accomplish – to myself and to others—I have a better chance of communicating successfully. Only then do I start to think about what the design should look like.
Reason to be nice to Alex: I am the president of
AIGA New York.
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Michael Ian Kaye :: bracket
Poster title: Open Ended
Original medium: Adobe Illustrator
The inspiration for this poster: Its inspiration comes from my obsession with spatial relationships, an infatuation with op art, and a respect for the likes of Donald Judd, Bridget Riley and Sol Lewitt.
On his contrarian attitude concerning brackets: My use of brackets in this poster conceptually about infinite space. Brackets are typically used to isolate an idea or a word from it’s context. My approach was to be inclusive, creating an abstract universe in where the possibilities are limitless, where all are equal and vital.
Home on the range: My designs have graced everything from book jackets to trench coats, and my clients range from oil companies to slick clothing labels.
CD at AR: I am a creative director at AR, a New York-based advertising agency with a fashion focus. Before that, I was a creative director in Ogilvy and Mather Brand
Integration Group.
Thoughts regarding brackets: In a world without brackets, which are opposing forces, we might push further the boundaries of our imagination.
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Chip Kidd :: hyphen
Poster title: My-Hyphenated-Life
Other punctuation-driven projects: Most of what I work on involves a lot of exclamation points, but they’re usually written by clients, and confined to internal Corrections Memos.
Original medium: My original medium was Madame Seeress Luba Ostrowsky, but she was called away on an emergency kidnapping case, so I had to use Mesmira Bizby, Our Lady of the Perpetual Gaze.
Random associations concerning this project:
This assignment has taught me so many things — I certainly can’t name them all here. But first and foremost: Satan can be very, very clever. I really had no idea. But it has also taught me that you can wear orange to a formal cocktail party and actually get away with it.
Nativity: I wasn’t so much “born” in 1964 as implored to
leave my mother’s body.
Up to the present moment: To date, I’ve designed some 1,000-plus book jackets, and written a novel, The Cheese Monkeys. I’m working on a second, tentatively entitled, The Learners. (Don’t hold your breath.)
Business card title: Meat Inspector
Passive-aggressive inspirations: I get endless inspiration from programs on The Learning Channel that feature predatory animals in the wild overcoming and devouring weak, slow creatures. I‘ve learned so much from them and could watch them forever.
Nocturnal admission: My greatest achievement occurs whenever I successfully wake up before eleven in the morning, wearing my own underwear, without having to figure out where I am and how I got there.
Thoughts regarding hyphens: The hyphen is a great all-around-connector-extender-includer-grouper-loser-fuser.
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Emily Oberman and Bonnie Siegler :: number/pound sign
Poster title: Connect The Dots
The inspiration for this poster: Connect the dots.
Original medium: Connect the Dots.
Other punctuation-driven assignments: Our logo for the Mercer Hotel is in parenthesis, the logo for TRIO TV has an exclamation point in it, and the logo for Lucky Magazine has a period on the end of it.
First jobs: Emily worked at Capezio, and Bonnie worked at Friendly’s.
Print, broadcast, web and business clients: We are currently redesigning the new, reinvented Colors Magazine, creating the identity and advertising for the new left-leaning radio network Air America Radio, and designing books for InStyle magazine, Will and Grace, and Jonathan Adler. Our other clients include Saturday Night Live, Conde Nast, Nickelodeon, Hyperion, NBC, MTV, HBO, The Mercer Hotel, The Maritime Hotel and the MGM Grand in Las Vegas. We also teach design for television at Cooper Union, and in the graduate program of The School of Visual Arts.
The function of your mark in everyday usage: “If you know your party’s extension, you may dial it now, followed by the pound sign.”
Thoughts regarding the number/pound sign: Our company is called Number Seventeen, but we never use the number sign. That’s all changed now.
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Woody Pirtle :: asterisk
Poster title: Passkey
What the keys mean: The keys are a metaphor for access to additional information, a way to open a door that leads to something else.
The events leading up to the present: I joined Pentagram as a partner in 1988 after running my own successful practice in Dallas for ten years. Before that, I was employed by The Richards Group.
Deep-pocket clients: United Technologies, Nine West, Northern Telecom, Rizzoli Publishing, UPS, Simpson Paper Company, the Rockefeller Foundation, American Folk Art Museum, Callaway Golf
Buildings housing the work: My work is in the permanent collections of the Museum of Modern Art and Cooper-Hewitt Museum in New York, the Victoria & Albert Museum in London, the Neue Sammlung Museum in Munich, and the Zurich Poster Museum.
Educational endeavors: I have lectured extensively, as well as taught at the School of Visual Arts. I am a member of the Alliance Graphique Internationale, and have served on the board of HOW magazine and the American Institute of Graphic Arts.
Medal of honor: In October 2003, I was awarded the prestigious AIGA Medal for my contributions to the design profession.
Thoughts regarding the asterisk: The asterisk is an opening to infinite possibility –– who knows where that little reference might lead you.
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Sam Potts :: tilde
Poster title: Untitled
Small is beautiful: I have worked as an editor of college English textbooks, a proofreader, and for the foreseeable future as a graphic designer. Since 2002 I’ve operated Sam Potts Inc., a small and hopeful general design practice of one.
Making the world better through design: I’ve designed books for Christo and Jeanne-Claude, They Might Be Giants, and Marion Ettlinger; identities for several well-regarded New York restaurants; and most recently everything for the Brooklyn Superhero Supply Co., and 826NYC, a new writing/tutoring center for children in Brooklyn.
Hidden in this picture is…: For a complete explication
of what I’m trying to do with this poster, please refer to the “Statement” in the red blocks at lower left. If this poster gets reproduced below about 75%, all the important parts are going to be unreadable, for which I really apologize. In general, this project seemed like an opportunity not to design something in the usual way of just trying to be smart or stylish or funny or conceptual or that kind of thing. This idea came out of the likelihood that mainly designers will see the thing and wouldn’t it be more interesting to address the context of that. Also, some of the rag is bad.
Most recently denied request: Note to editor: Is there
any way to use this text as is, please? It’s meant to tie in to what’s written on the poster, so it really is part of the whole design, and as such maybe shouldn’t be rewritten.
Sad fact: I have never had a satisfactory haircut.
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Stefan Sagmeister and Matthias Ernstberger :: apostrophe
Poster title: Happiness is a warm bang bang, shoot,
shoot
The inspiration for this poster: Lennon/McCartney
Original medium: Letterpress
Major source of inspiration: New York
Greatest achievement: Avoiding discussing achievement.
Favorite project: Our own book — it was enjoyable, rewarding and created the most feedback of any project we’ve ever done.
The function of the apostrophe:
1. to form possessives of nouns
2. to show the omission of letters
3. to indicate certain plurals of lowercase letters
Thoughts regarding apostrophes: We learned that a lot of people care very much that the apostrophe be used correctly. If you don’t believe us, check out the Apostrophe Protection Society at www.apostrophe.fsnet.co.uk.
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Paula Scher :: comma
Poster title: Moiré
The inspiration for this poster: moirés
Inspirations in general: My husband, my friends, New York City, Art Nouveau, Russian Constructivism, El Lissitzky, Rodchenko, de Stijl
What a coca-cola and a comma have in common: It’s the pause that refreshes.
Business card title: Partner, Pentagram Design
Greatest achievement: My ability to keep working.
Favorite projects: Ones that involve some sort of breakthrough — it usually happens when I’m doing something wrong.
Paula, in a nutshell: Drawing from what Tom Wolfe called a “big closet” of art, design, classic and pop iconography, literature, music and film, I strive to create images that speak to contemporary audiences, with emotional impact and appeal.
Big-time inductions: In 1998 I was named to the Art Directors Club Hall of Fame.
Recent realization regarding commas: I now realize how much the comma resembles sperm!
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David Schimmel :: ampersand
Poster title: Figure &. — Big Flat Loop Spoke
Original medium: Oil pencil and photocopier
From dishes to design: In 1994 I was a busboy at Planet Hollywood. In 1998, I was Design Director at Y&R Advertising in New York.
A naked love of the ampersand: It is not hyperbole, or even exaggeration, to say that I love the ampersand. I named my firm And Partners. The ampersand connects ideas or thoughts together. And, it indicates things which are additional.
A naked ambition: I founded And Partners with no partners and no clients.
Thoughts regarding the ampersand: Graphically, the ampersand got its start as “Et,” which is French for “and.” Depending on the typeface, this may be discernible, or not. My copyright-free cowboy has a great grasp of his oil-pencil ampersand.
And another thing…: The ampersand-as-lasso is wonderfully freeform, a sort of punctuation trial-balloon, As soon as it ropes something in, it becomes less visible. I could go on and on and on.
Favorite project: The SpecLogix Compendium of Paper & Printing, a pair of comprehensive reference guides for designers, published in 2002.
Greatest achievement: Housebreaking Gordon, my Wheaton terrier.
Straddling good and evil: I try to balance work for corporate clients with projects for educational programs.
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Aimee Sealfon - Eng :: umlaut
Poster title: Untitled
The thinking behind this poster: Unlike the period or a comma, the ümlaut does not stand on its own — it requires a vowel to bring the sound to life. This poster was created while trying to create a visual feeling of the melodic sound of the ümlaut — and the rippling effect that occurs when switching from an ümlauted vowel to a long vowel and back again.
Business card title: Art Director, Martha Stewart Everyday Merchandising
Aimee in a paragraph: My name is Aimee and I wear a flower made of felt in my hair. I have never had a cavity, even though I love to eat candy. I can fall asleep standing up, like a horse. I have a fear of vomit. My favorite foods include freshly shelled green peas and chocolate cake. I wear socks that have toes, like mittens. I do not care for air-conditioning. I have a goldfish named Leon. I am a very fast reader. I like clothing that has zigzag stitching. My beverage of choice is either sparkling water or champagne. I am inspired by life.
Favorite project: Over the past ten years, I have created a series of self-exploratory documentary projects that have helped to shape the way I view the world. With each project I undertake, I feel like I am beginning to understand who I am a little better.
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Todd St. John :: em/endash
Poster title: Untitled
Original medium: Pencil sketches redrawn on a computer.
The opposite of making a dash: I grew up in Hawaii, before eventually finding my way to New York.
Space for self-promotional statement: My studio, HunterGatherer, makes everything from furniture to clothing to animation. Along with my frequent collaborator, Gary Benzel, I am the co-founder and codesigner of the long-running independent clothing label, Green Lady, launched in 1995.
I want my own studio: I have worked as a graphic designer, product designer, animator, illustrator and director. I was an art director at MTV for two years before leaving to start my own studio in 2000.
Artistic aspirations: In recent years, Benzel and I have participated in a number of gallery shows, including Houston, alife/arkitip, RedFive, 222 Gallery, and Subliminal Projects, LA. We were recently included in the Cooper-Hewitt’s 2003 National Design Triennial.
Thoughts regarding the em and en dash: Explaining the difference between an em dash and an en dash is a pretty dull and arcane bit of information, so I tried to present it in a format that was slightly ridiculous.
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Scott Stowell :: quotation marks
Poster title: “Poster”
The inspiration for this poster: I wanted to use quotation marks two ways — where the quotes state the poster’s title as well as claim what the object itself is. So it’s both a poster and “poster.”
Original medium: Just Bell Gothic Black, composed in Adobe InDesign CS, on a Macintosh Powerbook G4.
Open for business: I’m the proprietor of Open, a design studio in New York where I do a lot of everything: design, writing, production, paperwork, odd jobs, etc.
First job: A paperboy. But my first full-time design job was at a firm in my hometown of Lowell, Massachusetts, called The Editors.
Alphabet soup: After graduating RISD, I went to M&Co. in NYC.
Favorite project: Any project that I don’t know how to do.
Other punctuation-driven projects: I’m a big fan of logos that are so simple they can be typed on a keyboard. So for the New York International Documentary Film Festival, we just put their nickname, “docfest,” in quotation marks.
Thoughts regarding quotation marks: Quotation marks are used to indicate material documented from other sources—that’s why we used them for the docfest logo. Of course, these days, they’re used to indicate irony, too.
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Robert Valentine :: ditto
Poster title: Untitled
The point of this poster: To create a figurative metaphor for what bunnies literally do.
The point of going to work everyday: To create desire. That’s why I titled my first book, Catalog Design: The Art of Creating Desire.
A few brands for which Valentine has created desire: Bloomingdale’s, Neiman’s, Martha Stewart, Sundance, the Chic Simple book series, Real Simple magazine (the most successful launch in Time Warner history), the re-launch of STEP Inside Design magazine
Competitive edge: Brand strategy wrapped in finely detailed narrative beauty.
The story on storytelling: I’m passionate about story, so I always create a context and subtext to my work, a sense that there’s more to what we get than what we see. It’s important to layer meaning into even the simplest photograph or illustration.
The layers of meaning in this poster: The rabbit is quivering with ditto marks, representing the ditto’s mantra of copy, repeat, copy, repeat. Meanwhile, the bunny’s propensity for copulation hops through the mind as backstory, making the concept make sense even before we intellectualize it — an interpretation that rewards a second look. Like the ditto.
The illustrator of this poster: Mark Todd
Valentine-collecting museums: Cooper Hewitt, The Victoria and Albert, and the Smithsonian museums.
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James Victore :: period
Poster title: Untitled
The inspiration for this poster: A hero riding off into a PMS Warm Red sunset.
Original medium: As always, I am looking for the simplest way to tell a story. This time it was with stencil and spray paint.
Global designs: I am an independent graphic designer hell-bent on world domination.
Design dream: I am a dreamer who believes that graphic design, like poetry, can not only change the world, but can alter someone’s attitude or even make them smile.
Means of self-expression: I am an unfettered expressionist. I work with brave clients who want to tell real stories to real people.
Thoughts regarding periods: I like happy endings. I like the idea of riding off into the sunset. A happy ending with hopes and dreams of a new day and a glorious future.
The happy ending to this project: I like this image
so much that I stenciled cowboys all over my studio. All
endings are beginnings. The End. Period.
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