Only 60 calendar shopping days ’til 2014! Keeping track of time takes on a typographical twist with the 365 Typography Calendar, which sets each month in a different typeface. The calendar is the brainchild of Pentagram veteran Kit Hinrichs, who produces it through his San Francisco-based design office. “So many people, designers included, have no idea who designed the beautifully crafted typefaces that are very much a part of our everyday life,” he says. “I wanted to enable people to become more aware of type as a designed object.” The dozen typefaces celebrated in the 2014 edition were nominated by members of the illustrious Alliance Graphique Internationale, and in addition to holidays, the calendar notes the birthdays of the type designers along with their brief biographies or explanations of what inspired the design.
Ellen von Unwerth’s “Kissing Booth” (2002)
“Shooting film is a little bit more exciting. It’s more precious, and it’s more technical. You take it out and even the assistant is proud. Everything seems to be more electric. With digital you shoot and shoot, and it doesn’t cost anything. The moment is not as precious.”
While we can’t guarantee it will make you any more likely to receive an early morning visit from the Prize Patrol (and in all likelihood employees are ineligible for company sweepstakes), we did want to alert you to the fact that Publishers Clearing House, they of the plentiful pay-by-installment magazine subscriptions and cash prize promises, is looking for a web designer to join its Port Washington, New York office. The winning candidate’s responsibilities will include planning, designing, coding, and executing mobile and web-based material, emails, and interactive experiences (many of them probably depicting giant piles of cash!). And don’t forget to ask in advance to be paid by direct desposit rather than in giant novelty checks.
Learn more about and apply for this Senior Web Designer/Art Director, Publishers Clearing House job or view all the current mediabistro.com design/art/photo jobs.
Look no further for your Thanksgiving dinner soundtrack, design fans, because Karim Rashid has cut an album. The globe-trotting bundle of hot-pink charisma has added electro-pop music composer to his resume with “Change the World,” released this week on iTunes. The EP, which includes three songs in eight mixtastic variations, features the vocal stylings of Rashid transmogrified through Auto-Tune and set against pulsating dance beats.
The lead track, “Nutopia,” a musing on love and design (“I fell in love one too many times / I designed one too many things”), sounds like a brooding robot’s cover of Tom Tom Club, which is to say we’ve had it playing on a loop since Tuesday. Many of the lyrics—heavy on dreams for a fluid, biomorphic world—recall Rashid’s 2001 manifesto, “I Want to Change the World,” while “Love Kolor” is a more playful pop arrangement about his chromatic obsession (rage on beige!) in a gray, gray world. Think pink!
If we’ve heard it once, we’ve heard it a thousand times: “I could tell you this Big Design News, but then I’d have to kill you.” Now you can give us the scoop and skip the messy murder plot, thanks to our “Anonymous Tips” box, which the Mediabistro tech wizards have placed at the top right of this page. Your mission, should you choose to accept it: Type in your news—design happenings, gossip, movements of the Revolving Door, a designer’s hidden talent, or any newsy, design-y morsel—and click “send.” We’ll get the news, you’ll retain your air of mystery.
Lippincott worked to unify the brands of merged airlines Avianca and TACA. The three-year project culminated in the recent unveiling of a bold new visual identity.
With a client list that includes 3M, Delta Air Lines, Hyatt, Samsung, Starbucks, and Walmart, Lippincott has spent the last seven decades combining strategy and creativity. (The recent brand face-lifts of Stanley and eBay? All Lippincott.) At the helm of the firm, which is part of Marsh & McLennan-owned Oliver Wyman, is Rick Wise, who oversees innovation in Lippincott’s design and strategy practices while also advising clients on their branding issues. The Wharton alum made time to chat with us about some recent Lippincott projects as well as his branding pet peeve, what’s on his desk, and why the Taj Mahal never gets old.
Lippincott turns 70 this year. How are you celebrating?
It’s a big year for us. We’re celebrating by both looking back on how the industry has evolved, honoring the moments Lippincott has influenced and the iconic brands we built, as well as looking ahead to what the next 70 years will bring. For instance, in May of this year, we designed “Pencil to Pixel” in collaboration with Monotype—an exhibit documenting the past, present and future of typography. As part of this, Lippincott developed an exhibit of its own—curating artifacts and designs throughout our history. As part of that we also moderated a roundtable discussion on the future role of design and brand expression with executives from Coach, Warby Parker, Virgin America, Chipotle, and eBay.
Tell us about a recent Lippincott project that you are particularly proud of and why?
We are very proud of the work we did for Avianca, the Latin American airline formed by the merger of Avianca and TACA airlines. We worked hand in hand with Avianca for three years to create a new unified brand, developing the new logo, aircraft livery, plane interior, visual system and frequent flyer program. It’s a really beautiful system for an airline that aspires to be the regional leader. But what we’re most proud is our work helping build a unified brand from the inside out—making sure the cultures were aligned, the employees were energized, and most importantly the customer experience could live up to the promise of a unified pan-Latin American airline.
As a specialist in brand strategy, what brand (aside from your current or past clients) would you single out as an emerging brand to watch?
I’m a huge music fan, and it’s been really interesting to watch the growth of Beats by Dr. Dre. It’s pretty amazing to see the brand they have created in just a few years, focusing on the overall music experience. They have taken a page out of Apple’s playbook by focusing on innovation delivered in great packaging and design, and took a product many thought might be obsolete and made it relevant again.
If on your next trip to the Metropolitan Museum of Art you spy a bivouac of bejeweled butterflies, do not be alarmed. The gem-encrusted insects are among the one-of-a-kind creations of Joel A. Rosenthal, better known by the only initials that can strike fear in the jewelry-loving hearts of those accustomed to getting everything they desire: JAR. The uncompromising designer is the subject of a glittering exhibition that opens today at the Met. We sent writer Nancy Lazarus to take a sneak peek.
JAR’s Tulip Brooch (2008) and Colored Ball Necklace (1999) are among the more than 400 works in the Met’s “Jewels by JAR” exhibition. (Photographs by Jozsef Tari. Courtesy of JAR, Paris.)
The city of lights is an apt setting for a jeweler who creates brilliant one-of-a-kind gemstones. Joel A. Rosenthal (JAR) set up shop 35 years ago on Place Vendôme and now New York’s Metropolitan Museum of Art is celebrating the Bronx-born craftsman with a retrospective that marks two other firsts. It’s JAR’s first American museum exhibit and the Met’s first exhibit devoted to a living jeweler.
“Joel is not here in person now, but he’s here in spirit,” said Jane Adlin, the exhibit’s organizing curator and associate curator of modern and contemporary art, during a press preview held earlier this week. If JAR had shown up, he would have observed an awestruck audience taking in the description-defying display of gems. Adlin collaborated with research assistant, Lori Zabar, and with exhibition design manager, Michael Lapthorn. The exhibit, on view through March 9, 2014, is set in a large, dimly lit gallery where only the cases and the 400-plus intensely colored jewels are illuminated.
“JAR is a talented sculptor who uses jewels as his medium,” said Jennifer Russell, associate director for exhibitions. “It’s an astounding range of work in terms of size, scale, range, and subject matter and it’s an amazing array of objects,” she added. Many of the jewels are inspired by nature: waves, shells, stars, vegetables, fruits, butterflies, birds, and exotic creatures. Others are based on accessories, such as fans or handkerchiefs. In the collection JAR designed for his international clientele are earrings, brooches, rings, bracelets, watches, picture frames, decorative boxes, and a bejeweled glass jar.
This week, Haute Living magazine is hiring a senior graphic designer, while McMurry/TMG needs a senior art director. Weider History Group is seeking a digital media designer, and Alarm Press is on the hunt for an art director for print media. Get the scoop on these openings and more below, and find additional just-posted gigs on Mediabistro.
- Senior Graphic Designer Haute Living (New York, NY)
- Senior Art Director McMurry/TMG (Saratoga Springs, NY)
- Digital Media Designer Weider History Group (Washington, DC)
- Art Director Alarm Press (Chicago, IL)
- Art Director – Oxygen Magazine Active Interest Media (Valencia, CA)
Find more great design jobs on the UnBeige job board. Looking to hire? Tap into our network of talented UnBeige pros and post a risk-free job listing. For real-time openings and employment news, follow @MBJobPost.
It’s been seven decades since J. Gordon Lippincott and Walter P. Margulies set up shop as Lippincott & Margulies, and the brand strategy and design firm, now known simply as Lippincott and part of Marsh & McLennan-owned Oliver Wyman, is both celebrating its septuagenarian status and using the occasion to get introspective. In the below video, directed by Matt Kalish with creative director Brendan Murphy, the firm looks to its past and its future to ponder the eternal question, “What is a brand?”
Photos from Ed Ruscha’s “Royal Road Test.” (Image courtesy of the Harry Ransom Center.)
Ed Ruscha‘s silhouetted “Rooster” (1987) sold for a sweet $605,000 yesterday at Sotheby’s, but the real crowing is about Texas. This week the Harry Ransom Center at the University of Texas at Austin announced its acquisition of Ruscha’s archive. The trove includes five personal journals filled with preliminary sketches and notes; notes, photographs, correspondence, and contact sheets relating to the creation and publication of his artist’s books such as Twentysix Gasoline Stations (1962) and Every Building on the Sunset Strip (1966); and materials relating to his short films “Miracle” (1975) and “Premium” (1971). “The thought that my working documentation could be in this magnificent repository is a wonderful honor and destination of great respect,” said Ruscha in a statement. “I now see that the Ransom Center is the home to end all homes.”