Ready to respond to requests of “Show me the data!” with more than a sad little bar graph? The Mediabistro mothership is now recruiting would-be data visualizers for an online course in infographics that can “engage an audience in your brand, cause, or mission.” Guided by tech-meets-branding whiz Amanda McCormick, whose resume includes work with organizations such as New York City Ballet, Bitly, and SocialFlow, students will get up to speed with online tools (we’re looking at you Many Eyes) and develop a robust spec for a data visualization. The infographical fun starts October 7. Learn more here.
Do you excel at explaining phenomena ranging from plate tectonics to nuclear fission using only a pen and a dinner napkin? Doodle double helices—and their accompanying nucleotides? Then listen up, because the American Association for the Advancement of Science (or “triple-A S,” as the cool kids call it) is looking for a new visual Einstein to join the creative marketing team for its flagship journal, Science, at its Washington, D.C., headquarters. Need you be able to tell xylem from phloem, ventricles from atria, a chupacabra from an exasperated kangaroo? Probably not, but be ready to describe how your “strong communication skills and excellent type sensibility” will react with your “ability to create effective, visually exciting print and electronic media” to keep the visual standards of Science as high as its impact factor. And don’t forget to balance your equation.
Learn more about this junior graphic designer, American Association for the Advancement of Science job or view all of the current mediabistro.com design/art/photo jobs.
If you, too, had the best of intentions but just couldn’t manage to sit through the PowerPoint deck-plus-Al-Gore-on-a-plane-B-roll that is An Inconvenient Truth, Milton Glaser has boiled down “global warming” and “climate change” into a new campaign that calls out these terms as the clumsy euphemisms they are. The bottom line: “It’s not warming, it’s dying.”
With his signature inform-and-delight tactics, Glaser pairs this grim yet clear-eyed slogan with a roiling green orb that suggests the planet Earth viewed from space—as its expanse of life-sustaining terrain recedes into blackness. On Friday the message debuted as a billboard at New York’s School of Visual Arts, where Glaser serves as a faculty member and acting chairman of the board (look for the billboard on the western exterior wall of SVA’s East 23rd Street building). Spread the word—and the orb—in button form: available in $5 sets of five here. SVA also plans to distribute free buttons on college campuses nationwide.
It’s a good year to be Tom Geismar. He and partner (and fellow graphic design legend) Ivan Chermayeff are the 2014 recipients of the National Design Award for lifetime achievement, but even before they pick up their chunky glass asterisks at the Cooper Hewitt’s awards gala in October, Geismar will get the retrospective treatment at New York’s School of Visual Arts. A panel of his peers has selected Geismar to be the 2014 SVA Master Series honoree, joining a roster of past laureates that includes Chermayeff, Saul Bass, Steven Heller, Duane Michals, and Paula Scher. In addition to his logo designs for the likes of Mobil, Chase Manhattan Bank, National Geographic, PBS, Rockefeller Center, Univision, NYU, and Xerox, the exhibition will feature personal works, books, and student projects from Geismar’s own collection.
“The Masters Series: Tom Geismar” opens August 25 at the SVA Chelsea Gallery in NYC.
Ready to respond to requests of “Show me the data!” with more than a sad little bar graph? The Mediabistro mothership is now recruiting would-be data visualizers for an online course in infographics that can “engage an audience in your brand, cause, or mission.” Guided by veteran creative director Sascha Mombartz, whose resume includes stints at The New York Times and Google, students will get up to speed with online tools (we’re looking at you Many Eyes) and develop a robust spec for a data visualization. The infographical fun starts on Tuesday, July 1. Learn more here.
There’s more to Washington D.C. than monuments, symmetry, and Frank Underwood. Locals read all about it in the pages of Washingtonian, and as the magazine approaches its fiftieth anniversary is in want of a new art director for its flagship publication as well as the offshoots Washingtonian Bride & Groom, Washingtonian MOM, and Washingtonian Welcome Guide. Bring your strong editorial design experience, passion for magazines, and “the ability to balance multiple projects in a highly collaborative environment while problem-solving under tight deadlines.”
“The basis of any word is a single letter,” says self-described “letterer, illustrator, and crazy cat lady” Jessica Hische, known for performing stunningly beautiful typographical feats for the likes of Wes Anderson, Penguin Books, The New York Times, and—be still our justice-loving hearts—John Hodgman. Among her latest projects is a stationery collection for the Luxe Project, a Moo initiative that pairs top creative talent with Moo’s deluxe business cards, letterheads, and notecards, and then gives 100% of net proceeds to the designer’s charity of choice (Hische’s feline-friendly pick: the ASPCA). She made time in her busy, bicoastal—San Francisco and Brooklyn—schedule to answer our questions about the luxe letterforms adapted from her Daily Drop Cap project, her book jacket for The Circle by Dave Eggers, and more.
For those not familiar with Daily Drop Cap, what is it and how did it come about?
I started Daily Drop Cap because, when I left working at Louise Fili Ltd., I wanted an excuse to draw letterforms every day, even when I wasn’t being paid to by clients. I wanted a way to experiment and develop my lettering skills since I was about to step out on my own, away from the daily mentoring of Louise. Originally, I had planned on doing an alphabet a week instead of a letter a day, but decided quickly that I wasn’t up for a challenge that enormous at the time. I gave myself the goal of twelve alphabets, a number that seemed daunting but doable, and for a year and a half I drew a letter every single day. It ended up becoming the thing that really kicked my career into full swing and made people pay attention to the work I was doing.
What did you create for the Luxe Project?
My collection for Moo uses a selection of my Daily Drop Caps, transforming the original artwork into sophisticated monograms by switching the complex original color palettes to two-color. I chose letters that I thought would appeal to many people—sometimes the letters I created for Daily Drop Cap specifically referenced something I was doing that day and wouldn’t work as stationery monograms— and tried to pick gender neutral letterforms when possible. The letters are integrated into simple but beautiful designs which could work for anyone, be they a designer or just a lover of letters. I used the typeface Router—which I love—made by a type design friend Jeremy Mickel.
What led you to select the ASPCA to receive all net proceeds?
I adopted my two cats from the ASPCA in New York and just love what they do to put misplaced animals in good homes. I’m a huge animal lover—it’s embarrassing how much I dote on my two cats—and love supporting an organization that obviously cares so deeply about animals.
In the course of working on projects for IBM, art director Sue Murphy was forever discovering graphic design gold in the company’s deep archives. “Because of the nature of the Internet, not a lot of this is available easily online,” notes Murphy, an art director at Oglivy & Mather in New York. “Or God forbid–hi res!” She is changing that with Good Design Is Good Business, a Tumblr that takes its name from a 1973 speech by Thomas Watson, Jr., IBM’s second president. The online collection of posters, by the likes of Ogilvy, Paul Rand, and Carl De Torres, is sure to make you THINK.
Having been refused subscriptions to the likes of Wildlife Treasury and Sweet Pickles during our formative years, we’re suckers for flash cards. Combine their didactic delights with posters and architecture and you’ve got Archigrams: minimal, informative prints of famous buildings ranging from Gerrit Rietveld‘s Schroeder House to the Gherkin (a.k.a. 30 St. Mary Axe by Norman Foster, no relation to Sweet Pickles). “The idea came to me years ago when I was an architecture student at UCLA, studying for my architecture history exams,” says Michie Cao, now a graduate student in interaction design at the School of Visual Arts in New York. She returned to the idea as part of a project for her SVA course in Entrepreneurial Design.
“As designers, we tend to be perfectionists and want to hide our ideas from the world until it’s one-hundred-percent developed and perfect. Unfortunately, that often prevents us from actually building it and getting the objective feedback we need to take the next step,” Cao explains. “The goal of this class was therefore to teach us how to use our networks, build a community base, and to learn how to test ideas out in the real world.” Her Archigrams Kickstarter campaign of last month raised $11,258, nearly four times the original goal, and production is now underway. Cao took time to tell us more about the concept, her sentimental favorite building, and how you can get in on the architectural fun.
How would you characterize the initial response to your concept?
Mixed! My initial concept of Archigrams was essentially a set of visual flashcards for modern architecture, and the first people I showed this to were classmates, friends, and Reddit. Many people, especially designers and architecture people, told me they loved the prints. Others told me they were turned off by the idea of flashcards, because it invoked bad memories of high school. From there, I iterated and played with all the ways I could frame my concept—first, by completely eliminating the informational aspect of it and then, incrementally bringing it back. Finally, I arrived at the concept I have now, which is that they are beautiful prints, supplemented by tidbits of important information every architect knows. My Kickstarter campaign took a while to catch on in social media, but after getting featured on various blogs and websites and as [a Kickstarter] Project of the Day, it finally got the exposure it needed and took off.
“He seemed to put a tremendous amount of energy into those covers; they are very carefully designed and beautifully produced. When he created them, he used his fame and star power. By that I mean it was unlikely that an unknown artist would have been able to persuade record companies to spend the extra money to produce art with those extreme production challenges and difficulties. Think about it. Having a zipper on an album cover? That was not an easy feat. It was expensive and it destroyed the records next to it. And the banana? With the peel, that you could actually peel. That also required extra cost and added necessary attention to production. Both covers are very interactive. The most legendary and memorable designs have always involved the viewer.”
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