Sappi Mccoy 75 Selections From the AIGA Archives

7/28/2019 Sappi Mccoy 75 Selections From the AIGA Archives

http://slidepdf.com/reader/full/sappi-mccoy-75-selections-from-the-aiga-archives 1/198

75selections

from the

AIGA Design Archives

Sappi presents





Design, just as art, has multiple denitions; there is no single denition.Design can be art. Design can be aesthetics.

Design is so simple, that’s why it is so complicated.

Paul Rand

Sappi is a long-standing partner o AIGA . From creating the rst nationalsponsorship with AIGA and expand-

ing our Ideas that Matter program,to sponsoring @Issue and Icograda,

Sappi actively supports the graphicdesign industry worldwide. We know

that good design is good business. And, as a true champion o print com-

munications, Sappi will continue tomake sure that print, as a medium,

remains innovative, vital and ull o

endless possibilities.

Mark Gardner

President and CEO Sappi Fine Paper North America



Design is a wonder o human

perspective: at once, it capturesthe past, expresses the visual cul-

ture o the moment and, at its best,imagines the uture. When

a membership organization suchas AIGA sets its priorities, it inevi-

tably looks at the needs o itscurrent members, both through

the challenges they ace todayand in anticipation o how it can

contribute to their relevance and

success tomorrow.Like the practice o design itsel, AIGA is an enduring institution.It is nearly a century old and is

as vital today as it has ever been.While this vitality is due to its

adaptability, AIGA’s longevityalso signals its important role in

continuity, validation anddiscovery or the proession.

Ironically, the role o discovery

depends not upon a view towardthe uture so much as a respect

or the past. In design, historyis clearly the prologue, and visual

history provides a orm o criticalmentorship or the creative pro-

cess. AIGA , through its long-standingcompetitions and activities, has

captured the contemporary expres-sion o communication design.

In recent years, a high priority has

been making this visual record asaccessible, and as well protected,as possible.

The AIGA Design Archives pur-

sues this goal in a variety o ways.Since 1980, AIGA has produced

an annual publication documenting AIGA ’s activities and competitions.

All o the physical artiacts selectedin these competitions are now

a permanent part o the Denver ArtMuseum collection, with a dedicat-

ed AIGA curator. This collection will

be available or study and exhibi-

tion and will grow by approximately300 examples a year.

AIGA ’s book design and book cover

competition has the longest history,dating back 84 years. Most all o

the selections rom this competitionare also available in the Butler Library,

Rare Books and Manuscripts collec-tion at Columbia University.

The online AIGA Design Archives,

at designarchives.aiga.org, aimsto be an exhaustive database o

communication design. Already, itis seen as the denitive research

resource on American design,the largest collection o communi-

cation design in the world and theonly one that is contemporaneous-

ly judged by preeminent peers.

Foreword

Richard GreéAIGA Executive Director

2



It contains all o the competition

selections since 1979 and is now,with support rom the National

Endowment or the Arts, beingexpanded to include all visual

materials available in AIGA ’s insti-tutional archives dating back to

the association’s origins in 1914. AIGA has also begun a process

o using the database to publishthe digital archives o major U.S.

design rms and practitioners

whose digital record o designaccomplishments might other-wise not be preserved.

AIGA is delighted to be able to

play the important role o docu-menting design history, not only or

those whose work is eatured, butalso or the coming generations

who will use this resource to dis-cover inspiration rom the past.

We welcome the involvement o

designers, individuals and com-panies in helping to preserve this

valuable resource and demonstra-tion o the remarkable legacy o the

creative spirit. I you would like tosupport this endeavor to protect and

promote the strength and beautyo this shared heritage, please

contact [email protected] call 212.807.1990.

Richard Greé AIGA Executive Director

The Frederic C. Hamilton Buildingo the Denver Art MuseumHome o the AIGA Design Archives







competition selections rom all years since1980. It is meant as a powerul educational tool

or the broadest possible audience. Viewers areable to create light boxes o images, annotatethem or reerence and share them with others—designers, clients, educators and students. The

online Design Archives is expanding to includeselections rom1914 through1980 and to assem-ble the digital archives o collections o medalistsand prominent designers o the 20th century.

Visit the AIGA Design Archives online at: designarchives.aiga.org.

The

AIGA

Design

Archives

6





As a proession, we are not veryold. Fity years ago, we carried the

label o paste-up or layout artists.For a time, we were commercial

artists. But in that short history, we

graduated rom the connes othose dark oces to having “a placeat the table.” This achievement

testies to the energy, talent, andperseverance o the individuals

in the design proession. AIGA hasmirrored this evolution. At times, AIGA orged the path into unamil-iar and daunting territory. Othertimes, it ollowed a sole designer

or group as they discovered newrealms. The artiacts in this book,

rom the Design Archives o AIGA ,provide concrete examples o

this progress.

Today, AIGA encompasses everyconceivable medium we use to

communicate our ideas—and alltypes o designers, both in attitude

and practice. The content o this

book makes clear that thingsdon’t just happen; they are madeto happen.

Sean Adams

AIGA President

Introduction

Sean Adams

AIGA President

8





Selections

rom the

AIGA

Design

Archives

10





80 80 8180 81

86 86 8686 87

83 83 8483 85

81 82 8282 82

87 88 8989 89





McCoy & McCoy Associates

Katherine McCoy

Cranbrook Architecture 1979/80

Cranbrook Academy o Art

1980

14





The Metropolitan Museum o Art

brand and identity systems designThe Metropolitan Museum o Art

Rudolph de Harak & Associates

Rudolph de Harak

1980

16



S mmerord Design Inc Hel etica



Summerord Design Inc.

Jack SummerordHelveticaTypographics

1980

18



CBS Records Design Dept The Best o



CBS Records Design Dept.

Paula ScherThe Best o…CBS Records

1981

20



Lubalin, Peckolick Assoc., Inc. Upper and lower case,



, ,

Herb Lubalin

Jason Calo

pp ,

Vol. 6, No. 4

International Typeace Corp.

1981

22



April Greiman Cal Arts View



Caliornia Institute o the Arts

1981

24



Doyle Dane Bernbach

G G ld ith A to BV lk



Gary Goldsmith Volkswagen

1982

26



Anspach Grossman Portugal, Inc.

Kenneth D LoveTexaco identityTexaco USA



Kenneth D. Love

Richard Felton Don Klein

Texaco, USA

1982

28



Vignelli Associates

Massimo VignelliThe Audubon Society Field Guidesto North America: Butterfies



Massimo Vignelli to North America: Butterfies

Alred A. Knop, Inc.,Chanticleer Press

1982

30



Pushpin Studios, Inc.

Seymour ChwastThe Writer’s New York CitySource Book



y

Toshiaki Ide New York City Departmento Cultural Aairs

1982

32



Milton Glaser, Inc.

Milton GlaserMostly Mozart FestivalLincoln Center



Lincoln Center orthe Perorming Arts

1983

34



Chermaye & Geismar

Ivan ChermayeWinston Churchill:The Wilderness Years

M bil M t i Th t



Mobil Masterpiece Theatre

1983

36



Pirtle Design

Woody PirtleHot SeatKnoll International



1983

38



John Massey, Inc.

John Massey

Jim Cross

ConnectionsSimpson Paper Co.



J C oss

1984

40



Sussman/Prejza & Co., Inc.

The Jerde Partnership

Deborah Sussman

Los Angeles OlympicsLos Angeles Olympic

Organizing Committee



Doron Gazit

1985

42



Paul Davis Studio

Paul Davis Adventures o Sherlock HolmesMobil Corp.



1986

44



Herman Miller, Inc.

Stephen FrykholmSay Hello to the Owners 1985 Annual Report

Herman Miller, Inc.



1986

46



Brigham Young

University Graphics

McRay Magleby

Peace WaveShoshin Society



1986

48



Paul Rand Paul Rand: A Designer’s Art

Yale University Press



1986

50



The Duy Design Group

Charles S. AndersonClassico Pasta Sauce identityPrince Food



1987

52



Pentagram

Kit Hinrichs

Lenore Bartz

Art Center Review,

September 1987

Art Center College o Design



1987

54



M&Co.

Tibor KalmanRestaurant Florent/NovemberRestaurant Florent



1988

56



Paul Rand NeXT identityNeXT, Inc.



1989

58



Bradbury Thompson Bradbury Thompson:

The Art of Graphic Design

Yale University Press



1989

60



Vanderbyl Design

Michael VanderbylEsprit Show and AccessoriesShowroom/New York

Esprit



1989

62



Selections

rom the

AIGA

Design

Archives



64



90 91 9292 92



96 96 9696 97

94 94 9594 95

93 93 9493 94

98 98 9999 99



Chris Pullman AIGA/Boston chapter posters AIGA/Boston



1990

68



Pentagram

Michael Gericke ADC/NY International PosterExhibition Call or Entries

Art Directors Club o New York



1991

70



Morla Design

Jennier Morla

Sharrie Brooks

San Francisco International Airport1992 Annual Report

San Francisco International Airport



1992

72



Chermaye & Geismar

Ste GeissbuhlerTime Warner identityTime Warner



1992

74



Charles S. Anderson

Design Company

Charles S. AndersonTodd Hauswirth

AIGA/Los Angeles poster AIGA/Los Angeles



1992

76



Skolos/Wedell

Nancy Skolos

Tom Wedell

Ferrington Guitars

HarperCollins/Callaway Editions



1993

78



Tolleson Design

Steven Tolleson

Mark Winn

Radius 1993 Annual ReportRadius



1993

80



Bielenberg Design

John Bielenberg

Virtual Telemetrix

1993 Annual Report Virtual Telemetrix



1993

82



Rolling Stone Magazine

Fred WoodwardDebra Bishop

“The Hot List”




1994

84



Modern Dog

Vittorio Costarella

Douglas Hughes

Heartbreak House posterSeattle Repertory Theatre



1994

86



Art Chantry Design

Art Chantry

Coco ShinomiyaJe Kleinsmith

“No Future” posterRhino Records



1994

88



Bass/Yager & Associates

Saul Bass

Elaine Bass

The Age of Innocence ( main title )



1994

90



Landor Associates

Lyndon Leader

Wally Krantz, Jr. John Lutz

Bill Chiarava-lle

FedEx identityFederal Express



1994

92



Wieden+Kennedy

Todd WaterburyOK CansThe Coca-Cola Company

1995



1995

94



AdamsMorioka

Sean Adams

Noreen Morioka

“Censorship and Silencing”The Getty Center or the History

o Art and the Humanities

1995



1995

96



R/Greenberg Associates, Inc.

Kyle Cooper

Jennier Shainin

Seven ( main titles )New Line Cinema

1996



1996

98



Duy & Partners Joe Duy

Sharon Werner

Jim Beam Small BatchJames B. Beam Distilling Co.

1996



1996

100



Pentagram Paula Scher

The Public Theater New YorkShakespeare Festival 1996 poster

The Joseph Papp Public Theater

1996



1996

102



Access Factory Inc. Alexander Gelman

Poetry Readings posterBiblio’s

1996



1996

104



Bruce Mau Design Bruce Mau

S, M, L, XLThe Monacelli Press

1997



1997

106



Haley Johnson Design Co. Haley Johnson

Literacy poster AIGA/Colorado

1998



1998

108



Sagmeister Inc. Stean Sagmeister

Jambalaya: AIGA NationalDesign Conerence poster AIGA

1998



110



James Victore, Inc.James Victore

“Disney Go Home” posterTimes Square, NY

(Unocial Client)

1999



112



SamataMason Dave Mason

Pamela Lee

Swiss Army Brands, Inc. 1999 Annual Report

Swiss Army Brands, Inc.

1999



114



1999

Pentagram Michael Bierut

Tibor KalmanMichael English

Tibor Kalman: Perverse Optimist Princeton Architectural Press



116



Selectionsrom the

AIGA

Design

Archives



118



00 01 0101 01

01 01 0101 03



05 05 0606 06

03 04 0404 05

01 01 0101 03

06 06 0606 06120



Cahan & Associates Bill Cahan

Bob Dinetz

Aspect Communications2000 Annual Report

Aspect Communications

2000



122



Maeda StudioJohn Maeda

Maeda @ Media

2001



124



Alred A. Knop PublishersChip Kidd

Chris Ware

Jimmy Corrigan:The Smartest Kid on Earth

2001



126







Oce o Paul Sahre Paul Sahre Demonology Little, Brown and Company

2001



130



2x4

Michael Rock

Conny Purtill Deb Wood*

Parallax *Princeton Architectural Press

2001



132



Number 17

Emily Oberman

Bonnie Siegler

Saturday Night Live ( titles )

NBC

2001



134



R/GA

Vincent LacavaUnderstanding USA websiteRichard Saul Wurman

2001



136



PMH

Dave Peterson

Minda Gralnek*

Target “Sign o the Times”Spring TV ad

*Target Corporation

2001



138



Motion Theory

Steve Luker

John Norman Steve Simpson

Hewlett-Packard anthemHewlett-Packard Company

2003



140



Jack Stauacher Print Number 4 romThe Vico Collaboration portolio

2003



142



Pentagram

Abbott Miller Jeremy Homan

2wice “Animal” issue

2wice Arts Foundation

2004



144



Ralph Appelbaum Associates

Ralph Appelbaum

National Constitution

Center environmentNational Constitution Center

2004



146



Ogilvy & Mather

Brian Collins Weston Bingham

Sprite posters and

Times Square billboardThe Coca-Cola Company

2004



148



VSA Partners, Inc.

James Koval

Cingular identity

Cingular

2005



150



Hoefer & Frere-Jones

Jonathan Hoefer

Knox typeace

Hoefer & Frere-Jones

2005



152



The New York Times

Steve Duenes

Election maps

The New York Times

2005



154



Pentagram

Paula Scher Lisa Strauseld

Bloomberg L.P. environment

Bloomberg L.P.

2006



156



Nike, Inc.

Heather Amuny-Dey Adam Cohn Julie Freeman

National Teams custom typeaces

Nike Global Football

2006



158



Werner Design Werks, Inc.

Sharon Werner Sarah Nelson

10 Cane Rum

Moët Hennessy

2006



160







Target Corporation

Deborah Adler

Target ClearRx

Target Corporation

2006



164



R/GA

Richard Ting Marlon Hernandez Mike Reger

Shu Zheng Li

Nike Basketball—The Family

Nike, Inc.

2006



166



MTV Networks

Jerey Keyton Jim Debarros Stacy Drummond

MTV2 logo

MTV2

2006



168



Bruce Mau Design

Bruce Mau

Massive Change exhibition

2006



170



132 104 96

Access Factory Inc.

Specialists in interactive branding,

this Brooklyn-based studio hascreated user interace symbols

or Prodigy, a digital user interaceor AGFA , web banners or Casio,

a website or Mecca urban apparel,

and identity or Divon urniture They

2x4

Founded in 1994 by three Rhode

Island School o Design class-mates, 2x4 has worked, oten in

collaboration with architects, onprojects as diverse as textile and

wallpaper design or Knoll, envi-

ronments or Prada and packag

AdamsMorioka

Known or clean lines, clear colors,

and honest expressions o brandpersonality, Los Angeles-based

AdamsMorioka has brought theirparticularly sunlit, Southern

Caliornia orm o design to ABC,

Adobe Appleton Papers Disney



and identity or Divon urniture. Theydescribe their work as “buildingdigital environments or immersive

brand experiences,” and precedeany design explorations—whether

or a web banner or wireless appli-cation—with thorough brand studies.

Other clients have included Apple,Bayer, J Walter Thompson, MTV,Seventeen magazine, Swatch,and Time Warner.

ronments or Prada, and packag-ing or Malin + Goetz unisex beautycare products. According to the

San Francisco MoMA , whichrecently eatured a solo exhibition

o their work, “New York-baseddesign rm 2x4 is credited with

helping to redene graphic designas one o the most inclusive andvisible design categories. 2x4’s

sophisticated approach empha-sizes critical thinking and research,

and its projects encompassvirtually all graphic media… The

studio’s design solutions are visu-

ally rewarding, employing richbut unexpected combinations oimage, color, and pattern in work

that is avant-garde yet rooted inthe context o its subject matter.”

Adobe, Appleton Papers, Disney,ESPN, Nickelodeon, Sundance,Mohawk Papers, USC, and VH1,

among others. The studio wasounded in 1994 by Sean Adams

and Noreen Morioka. San Fran-cisco MoMA , as part o a recent

exhibition, described their work as“Mixing modern abstraction withnostalgic images,” oering “graphic

design with wit, nostalgia, optimism,and a touch o good-humored

nar-cissism,” and “taking inspirationrom contemporary mass culture,”

while exploring “the world o

artice and the cult o personality.”

172

126 28 88

Alred A. Knop Publishers

This New York publishing house,

ounded in 1915, has a long historyo publishing notable ction and

nonction. Now part o the KnopPublishing Group at Random

House, Alred A . Knop is recog-

nized by its borzoi dog trademark

Anspach Grossman Portugal, Inc.

A worldwide branding rm known

or pioneering work in corporateidentity and naming, Anspach

Grossman Portugal, Inc. has hada ew name changes itsel since

its 1969 ounding; ollowing a 1996

merger o ve WPP companies into

Art Chantry Design

Art Chantry, based in Tacoma,

Washington, is most closelyasso-ciated with the posters and

album covers he has designed orthe bands rom the Pacic North-

west that dened the seminal Seat-

tle music scene including Nirvana



nized by its borzoi dog trademark,dedication to great literature, andor attention to exceptional typog-

raphy and design. The publisherhas collaborated with a variety o

accomplished book designersand typographers. Chip Kidd has

worked or Knop or more than20 years, creating covers designedto engage and sell or writers such

as Martin Amis, Michael Crichton,James Ellroy, Cormac McCarthy,

David Sedaris, and John Updike,among others.

merger o ve WPP companies intoa single partnership, the companyhas been known as Enterprise IG.

From 22oces around the globe,the rm has worked with many multi-

national corporations on identityprojects such as Consolidated Food’s

change to Sara Lee Corporation,brand dierentiation or Del Monte,an overhaul o the Boots No 7

cosmetics line, and Libbey-Owens-Ford’s evolution to Trinova. In ad-

dition, they created and donatedthe logo or the World Trade Center

Memorial Foundation.

tle music scene, including Nirvana,Hole, and The Sonics. He otenused materials, rom type and

photography to illustration, whichhe appropriated rom newspapers,

sample books, cartoons, andother ound items that expressed

a unique vernacular. He has alsodesigned many notable logos andworked or a variety o social causes

and nonprot organizations. Hismonograph is titled Some People

Can’t Surf: The Graphic Design

of Art Chantry , and his work has

been exhibited rom the Rock and

Roll Hall o Fame to the Louvre.

4890 82

Brigham Young University

McRay Magleby was or many years

the creative director at BrighamYoung University, where he created

a peace poster to commemorate theatomic bomb attack on Hiroshima,

Japan. Magleby said o the poster

that he “wanted to make people

Bass/Yager & Associates

Saul Bass came to prominence

in the 1950s by creating symbolic,geometric, completely modern

and totally unorgettable lm titles,credit sequences and posterimages or now-classic lms like

The Man with the Golden Arm

Bielenberg Design

John Bielenberg is a partner and

coounder o C2 in Hal Moon Bay,Caliornia, a studio that’s “in the

business o helping companiesget their stories straight.” He alsoruns The Bielenberg Institute at the

Edge o the Earth in Belast Maine



that he wanted to make peopleeel good, to eel that peace is some-thing worthwhile, something to

strive or.” While at Brigham Young,he and his sta produced a wide

variety o publications, books, andposters. He is now a proessor in

graphic design at the University oUtah and has worked on a varietyo design projects, including postage

stamps, stained glass windows,the Salt Lake City 2002 Olympiad

posters, and rugs sold through theSundance catalog and the Tibet

Rug Company.

The Man with the Golden Arm,Vertigo, and West Side Story . He

brought a similar sensibility tologo design, creating both the

amous bell and then the stripedsphere and globe symbols or AT&T, as well as identities or Dixie,Girl Scouts, Minolta, Quaker Oats,

United Airlines, the United Way andWarner Communications. More

recently, his rm worked on openingsequences or the movies Goodfellas,The Age of Innocence, and Casino.Saul Bass died in 1996.

Edge o the Earth in Belast, Maine,where he is ounder and director

o Project M, a summer programset up “to inspire young designers,

writers, photographers and lm-makers by proving that their work

can have a positive and signi-cant impact on the world.” Virtual

Telemetrix is a made-up companyBielenberg uses to create satirical

projects about the intersectiono design and corporations. Many

o his Virtual Telemetrix projectsare in the collection o the San

Francisco MoMA .

174

106, 170 36, 74 122

Bruce Mau Design

Fast Company magazine reerred

to Bruce Mau Design as “a studioin the purest sense o the word…

an ongoing experiment in the bestway to design an organization orlong-term creative growth… In

terms o what kind o work Mau

Cahan & Associates

Cahan & Associates was ounded

by Bill Cahan, a ormer architect,in San Francisco in 1984, and

built a reputation by taking unusualand memorable risks within the

traditionally stodgy eld o annual

reports. For Adaptec, the rm

C&G Partners, Inc.

Chermaye & Geismar has, in

more than ty years o design work,created more than 100 corporate

symbols. “Our work starts rom theinormation to be conveyed,” IvanChermaye explains, “and only

then goes on to make the structure



terms o what kind o work Maudoes, there are really no boundaries:BMD does book design, logos,store interiors, signage, landscapes,

lm, magazines, and museumexhibits.” Begun in Toronto in 1985

to design or Zone Books, the rm’sclients include the Andy Warhol

Museum, the Gagosian Gallery,Roots, Vitra, and still, Zone Books.

Mau was also creative director atI.D. magazine or two years and

began “Massive Change: the Futureo Global Design” in collaboration

with the Institute Without Borders,

whose most recent eort is the “WorldHouse Project,” which seeks to“design a sustaining, universal and

healthy human dwelling.”

reports. For Adaptec, the rmcreated an annual report in the ormo a children’s book; Heartport’s

annual report included die cutsrefecting the work o their surgical

instruments. The studio also oersstrategy, advertising, and branding

services or clients including HermanMiller, Genentech, Levi Strauss & Co., and Williams Sonoma, and has

been eatured on both CNN andCNBC. A recently released mono-

graph on their methods andinspirations is called, I Am Almost

Always Hungry .

then goes on to make the structuresubservient to that inormation or

make the structure a way to helpexpress the idea.” The rm is now

known as C&G Partners and hascreated identities or organizations

as diverse as Chase Manhattan,HarperCollins, NBC, Merck, Mobil,PBS, and Xerox, as well as notableexhibits or the New York Public

Library, Ellis Island and the Statueo Liberty. The Time Warner logo

was designed by Ste Geissbuhler,one o the three ounding members

o C&G Partners.

20 2676

CBS Records Design Dept.

Columbia Records, ormerly CBS

Records, is the oldest name inrecorded sound and was the rst

to produce prerecorded recordsinstead o blank cylinders. Foundedin 1888, it is now a subsidiary o

Sony BMG Music Entertainment.(CBS R d i ll d

Doyle Dane Bernbach

Founded in 1949 by three partners,

this multinational advertisingagency has grown to encompass

more than 200 oces in almost100 countries, and is now part othe Omnicom Group and known

as DDB Worldwide. The rm hasd d h h i

CSA

Established in 1989, Charles S.

Anderson Design’s signature stylerefects their tongue-in-cheek

sense o humor and love o kitschyculture. While it has created visual-ly arresting icons, packaging,

logos, posters, identity, advertising,d h T Ni



y(CBS Records is now a small record

label producing music rom CBS Paramount Television shows.)

Columbia was known or signingthe best talent and leading music

trends with artists rom TonyBennett and Johnny Mathis, to

Bob Dylan, Janis Joplin, and Simonand Garunkel, as well as Bruce

Springsteen and Beyonce. PaulaScher designed album covers as

an art director at CBS or 10 years,then moved on to editorial design

in her own rm, Koppel & Scher,

beore becoming a partner atPentagram in 1991.

made ads that encompass the entire

range rom political controversy tocatchy jingles: or example, their

inamous “Daisy” ad eaturednuclear war scare tactics that were

credited with giving PresidentJohnson the win against Goldwater,

but they also created the unor-gettable McDonald’s jingle, “You

deserve a break today.” Currentclients include Anheuser-Busch,

Clorox, Egypt tourism, HasbroMonopoly, and Volkswagen. Bill

Bernbach remains one o the most

infuential, ot-quoted people inthe advertising industry.

g , p , y, g,and characters or Target, Nissan,

Pottery Barn, Urban Outtters,and Yahoo, among others, this

Minneapolis rm is perhaps bestknown or its work or French

Paper. In addition, CSA Images oersdesigners a collection o more

than 50,000 illustrations, artwork,images and onts that showcase

classic Americana. CSA also recentlylaunched Pop Ink, a company

that licenses these images or useon products like git wrap, note-

books, napkins, and plates, as

well as in thematically arrangedpicture books.

176

52, 100 34 24

Duy & Partners

Duy & Partners denes their core

competency as “Design that tellsa story.” Launched as Duy Design

in 1984, in association with theFallon Worldwide advertising agency,the rm gained infuence by inte-

grating design with advertisingd i i th i t d i

Milton Glaser

Founder o Pushpin Studios in 1954

with Reynold Runs, SeymourChwast and Edward Sorel, Milton

Glaser is celebrated or his illustra-tions, identities, and posters, along

with volumes o other design

work. In 1968, Glaser co-oundedN Y k i h h

April Greiman

April Greiman is a digital design

pioneer, innovator, and inveterateexperimenter with the intersection

o technology, image, and type.She has worked rom Los Angelessince 1976; her studio is called

Made in Space. Her current designi t t “ l



g g g gand recognizing the impact design

has on consumers and brandingoverall. Notable brand and identity

work has included Armani Exchange,the Bahamas, Diet Coke, Fresca,

Kellogg’s Smart Start, Knob Creek,Starbucks, and Susan G. Komen

or the Cure. A recognized leaderin how to build lasting brands and

brand value, Joe Duy recentlyreleased his rst book, Brand Apart,

and was eatured in Fast Company magazine as one o the “Fast 50”

most infuential people in the uture

o business.

New York magazine, where he wasdesign director or a decade; at

his rm WBMG, he designed morethan 50 magazines and redesigned

three major newspapers as wellas consulting with countless other

publications. He has also designed

and illustrated more than 300

posters. He started Milton Glaser,

Inc., in 1974 in New York, wherehe works on identity, environmental,

product, interior, and exteriorsdesign. He is perhaps most amous

or his ot-copied “I (heart) New

York” logo. Glaser has had one-manshows at both the New York MoMA and Georges Pompidou Center.

ginterests ocus on “color-suraces-

materials and trans-media identityand branding.” For example, in work

or the Cerritos Center, in additionto logos and signage, she also

created textile and tile designs.She requently collaborates with

architects, including a recent publicart commission on a building in

Los Angeles. Other clients haveincluded AOL Time Warner, PacTel,

the U.S. Postal Service, and theWalker Art Center.

152108 46

Hoefer & Frere-Jones, Inc.

Jonathan Hoefer describes what

his rm creates as “couture type.”In addition to custom type aces

or organizations rom The NatureConservancy to the rock bandThey Might Be Giants, and mag-

azines and newspapers such asWired and The Wall Street Journal

Haley Johnson Design Co.

Haley Johnson is a Minneapo-

lis-based illustrator and designer.She established her studio in1992 to oer branding, packaging,product development, and illustra-tion to a variety o clients. Johnson

has worked closely with Blue Q,illustrating Hot and Flashy soaps

Herman Miller, Inc.

Herman Miller, Inc. is synonymous

with creating modern traditionsin urniture design, sustainable

manuacturing, and community-minded business practices. Iconssuch as the Eames, Aeron and

Mirra chairs, along with all their otherproducts consistently express the



Wired and The Wall Street Journal ,

the rm also has a library o 1000 type designs. Founded in 1980

as the Hoefer Type Foundry, everydesigner working on a Mac has elt

the company’s infuence, as theenormous character set o Hoefer

Text has been part o Mac OS since the launch o System 7.

Other clients include businesses,newspapers, magazines, design

studios, ad agencies, publishinghouses, government organizations,

nonprots, and institutions. The

company’s Gotham typeace wasrecently selected or the FreedomTower cornerstone.

illustrating Hot and Flashy soaps,

collaborating on the design otheir Dirty Girl products, and pro-

viding creative direction and illus-tration or the me me me line o

bath and beauty products targetedto the mass market. Other clients

have included Peace Coee, JaneJenni, Target Stores, and Turner

Classic Movies. Johnson says thati she wasn’t a designer, she’d be

“painting something.”

products, consistently express the

Herman Miller belie “in design asa way to solve signicant problems

or people.” Based in Zeeland,Michigan, the company began in1923 as a manuacturer o residentialurniture, and through consistent

innovations and partnershipswith legendary designers has grown

to the second largest oce urn-iture company in the world. The

company has been recognized oralmost all o the last 20 years as

one o Fortune magazine’s “Most

Admired Companies.”

178

112128 40

James Victore, Inc.

James Victore is the proprietor

o a Brooklyn-based, “independentdesign studio hell-bent on world

domination.” Known or his raw,stop-them-in-their-tracks illustrativestyle, bold theatre and political

posters, as well as unetteredswearing Victore’s clients include

Jager Di Paola Kemp Design

The Burlington, Vermont-basedJDK grew up alongside the snow-board industry through a ertile,

creative partnership with BurtonSnowboards that turned bothcompanies into cultural taste-

makers or the youth market andits attendant brands JDK sees

John Massey, Inc.

As a young man, John Massey

wanted to be a cartoonist, but achance meeting while in design

school with the Swiss designers Armin Homann and Jose Müller-Brockmann compelled him to turn

to design. He became the designdirector at Container Corporation



swearing, Victore s clients include

Aveda, Amnesty International,Chronogram magazine, Möet &

Chandon, and The New York Times.“Dirty Dishes” is another Victore

project that eatures stark, blackand white, one-o-a-kind, marker

illustrations on white plates. Victoreis a sel-taught designer, who was

kicked out o the School o Visual Arts, which is now a client and

where he also teaches. He toldone interviewer, “I learned design

the same way I learned to swear.

I picked it up on the street.”

its attendant brands. JDK sees

brands as vibrant, living thingsthat must surprise and challenge

their equally engaged and savvycustomers, an idea demonstrated

by such revolutionary tactics asintroducing dozens o logos or

a single brand. The studio’s pointo view has been sought out by

Giant bicycles, Magic Hat brew-ing company, Merrell ootwear,

Microsot Zune, Segway, SeventhGeneration, Timex, and Virgin

Mobile, among others.

director at Container Corporation

o America, and then at theirCenter or Advanced Research

in Design, beore starting his owndesign consultancy, John Massey,

Inc. in 1983. His clients have in-cluded the Chicago Community

Trust, the American Library Association, Herman Miller, and

The Tribune Company. Masseyhas also been a teacher at the

University o Illinois at Chicago.



56 124 14

M&Co.

Tibor Kalman ounded the socially

activist, progressive, iconoclasticdesign rm M&Co. in 1979, with

his wie Maira. He gained respector groundbreaking and infuentialdesign work, especially in his innova-

tive use o type, or the TalkingHeads, Times Square, and maga-

Maeda Studio

John Maeda is a computer sci-

entist, visual artist and designerwho is also the Associate Director

o Research at the Media Lab,and the E. Rudge and Nancy

Allen Proessor o Media Arts &

Sciences at MIT. He has writtenseveral “normal” books and a ew

McCoy & McCoy Associates

McCoy & McCoy Associates is

the design studio o Katherine andMichael McCoy. Katherine is a

graphic designer who began hercareer at Unimark International

and worked with many other orga-

nizations and advertising agencies;studio clients have included Detroit



eads, es Squa e, a d aga

zines such as Colors, Wired ,and Ray Gun, even as he gained

notoriety or his radical politics,commitment to social causes, and

conrontational challenges to thesoul and conscience o designers

in person and the design proes-sion at large. “I use contrary-ism in

every part o my lie,” he said. “Indesign, I’m always trying to turn things

upside down and see i they lookany better.” Kalman collaborated

with Michael Bierut on a book

about his lie and work, PerverseOptimist , and died in 1999.

se e a o a boo s a d a e

experimental ones that combineprint with corresponding sotware.

He also runs Maeda Studio, whichhe says is simply “the name I give

or my desk at home.” Maedais known or his groundbreaking

work humanizing technologyto make it more intuitive, creative,

and accessible, and or using thecomputer as an artistic tool. Clients

have included Sawaya & Moroni,Shiseido, and Sony, and he was

eatured in an “Absolut Maeda”

ad eaturing his take on the iconicliquor bottle.

studio clients have included DetroitInstitute o Arts, Formica, Philips

Electronics, and Tobu Stores. Michaelis an industrial designer who

has worked with Knoll International,Philips Electronics, NEC, and

Steelcase. Together, they co-chaired

the design department at Cran-book Academy o Art or 25 years.

They are now lecturers at theIllinois Institute o Technology’s

Institute o Design.

1407286

Motion Theory

Motion Theory, located in Venice,

Caliornia, denes itsel as “amicro-studio, redening the pro-

duction industry through a com-bination o creative development,lmmaking, and innovative visual

eects.” Working with ad agencies,record companies, and corporations,

Modern Dog

Since its ounding in 1987, Modern

Dog’s powerul illustrative tech-niques and bold use o type, cus-

tom lettering, illustration, stencils,screen printing, spray paint, andcopier-as-printer have come to

dene the Seattle graphic designscene, especially as expressed on

Morla Design

Jennier Morla began her career

as an in-house designer or Levi’s.Since ounding her San Francisco

rm in 1984, she has createdarresting graphics or San Francis-co’s bid or the Summer

2012 Olympic Games; designedHemispheres magazine , Hold



p , p ,

Motion Theory has made visuallystunning and surprising commercials

and videos or Beck, Epic Records,Gatorade, HP, and Microsot Zune,

among others. They were responsibleor the “Just a Game” Budweiser

Super Bowl spot that pit Jay-Z andNFL Coach Don Shula in a simu-

lated speed table ootball game,as well as HP’s “Personal Again”

brand advertisements.

, p y p

its many posters or indie musicartists. In addition, the rm has

created logos and custom letteringor the Washington State Lottery, ACT Theater, Ben Harper, and K2

snowboards; ads or Converse,

Nordstrom and K2; as well as allthe branding and packaging or

the snarky, tongue-rmly-planted-in-cheek, politically incorrect,

Blue Q series o novelty products.

p g

Everything catalogs, and Nordstromand Discovery Channel retail

stores; done editorial design orThe New York Times Magazine;

and launched the Morla Collectiono upholstery and panel abrics

rom Luna Textiles. She recentlytook on responsibilities as in-house

creative director or Design WithinReach. She notes that “Design

has to excite, but it also has toinorm in a way that engages. I

try to involve the audience in thedesign process, whether they

know it or not.”

182

168 154 158

MTV Networks

MTV2 is a cable network launched

in 1996 to provide music ans withprogramming once oered by the

original MTV: commercial-ree,constantly changing music videos,with a particular ocus on indie

music. Programming has sinceexpanded to include other types o

The New York Times

The New York Times is one o the

country’s premier daily papers andpart o the New York Times Company,

a media consortium o newspa-pers, websites, and a radio station.

As graphics editor or The New York

Times, Steve Duenes has broughtclarity insight and understanding to

Nike, Inc.

Nike was ounded in 1971 by

Phil Knight, a University o Oregonmiddle distance runner, and his

track coach, Bill Bowerman, whoserst innovation was pouring rubberinto his wie’s wafe iron to make

a shoe sole. The Nike swoosh, oneo the most widely recognized



shows, but the channel maintainsits core ocus on youth and pop

culture. The new logo was made todierentiate the channel rom MTV.

Billboard reported that the two-headed dog represented rock and

hip-hop, the two sides to the musicon MTV2. The logo also provided

a theme or a teaser website thatwas posted to help launch the

new network. The site includedtwo-headed-dog-themed images,

games, and videos.

clarity, insight and understanding to

readers by creating engaging andinormative illustrations o every-

thing rom maps on national votingpatterns to diagrams about theautistic brain and fow charts that

show who thanked whom duringOscar acceptance speeches.

Prior to joining the Times, Duenesworked as a designer and graphic

artist at newspapers in Michiganand Los Angeles, and at the Chicago

Tribune. Duenes is also a cartoon-ist whose sardonic images and

pithy captions appear regularlyin The New Yorker magazine.

logos in the world, was designed byCarolyn Davidson, a design student

Knight met in a college hallway.Knight reportedly said o the design,

“I don’t love it, but it will grow onme,” and paid her $35 or her

eorts. Davidson continued to workor the company until it grew beyond

the abilities o her one-person shop,and in 1983 she was presented

with an unnamed amount o Nikestock. Nike’s mission is “To bring

inspiration and innovation to everyathlete* in the world. *I you have

a body, you are an athlete.”

148130134

Ogilvy & Mather

Ogilvy & Mather, headquartered

in New York City, is the amed ad-vertising agency ounded in 1948

by the renowned David Ogilvy.From the “Hathaway Man” andthe “Lemon” ad or Volkswagen,

to American Express’s “Don’tLeave Home Without It,” the rm

Oce o Paul Sahre

Paul Sahre has maintained a small

design studio in New York since1997, where he works on a wide

variety o boutique projects thatcumulatively have had a big impacton design. His deceptively simple,

always suggestive illustrationsrequently appear in The New York

Number 17

Number 17 was opened in 1993

by best riends Bonnie Siegler andEmily Oberman. Beore starting

their own New York studio, Sieglerwas design director at VH1 andOberman worked at M&Co. Siegler

and Oberman are known to be ob-sessive collectors o a wide variety



dened itsel and its clients byusing great advertising to create

great brands. Now part o theWPP Group, Ogilvy & Mather has

almost 500 oces in 125 countries,including many related units that

oer more specialized servicessuch as public relations and inter-

active and experiential marketing.Recently, the rm gained national

recognition or the viral successo its Dove Evolution video, which

“exposed the manipulation o theemale image in the media” and

won a Cannes Lion Award.

Times, especially on the OpEdpage. In addition, he has designed

book covers or two Rick Moodynovels and many covers or New

York magazine. He also designsand silkscreens posters or o-

Broadway shows, some o whichare now in the permanent collection

o the Cooper Hewitt DesignMuseum. Other clients include the AIDS Institute o New York, MarvelComics, Sundance Channel,the

School o Visual Arts, Verve Records,and many dierent magazines

and publishing houses.

o ephemera rom wedding caketoppers to all things 17, and bring

their slightly warped and eccentricsense o humor to much o their

branding, print, and broadcast work.They have worked on numerous

television shows rom The IsaacMizrahi Show to Desperate House-

wives and Saturday Night Live,as well as magazines rom Jane

and Lucky to Colors. They are alsothe authors o a sel-reerential

comic strip that appears regularlyin Step Inside Design magazine.

184

44 54, 70, 102, 116, 144, 156 38

Paul Davis Studio

Paul Davis published his rst illus-

trations in Playboy magazine in1959. He then joined Pushpin Studios,

and in 1963, began working onhis own out o his New York Citystudio, which he runs with his wie,

Myrna, a writer and editor. His workhas appeared in Fast Company , The

N Y k R lli S Ti

Pentagram

Dened by a group o partners who

are practicing designers, Pentagramhas since 1972 represented the

intersection and cross-ertilizationo industrial design, graphic design,interior design and architecture.

Driven by the power o a strong idea,well-expressed, Pentagram has

i l d h

Pirtle Design

Woody Pirtle established Pirtle

Design in Dallas, Texas, in 1978.He grew his business over the next

ten years, creating logos, posters,and other designs that show astrong eel or graphic possibilities

as well as a sense o wit and whimsy.In 1988, Pirtle joined Pentagram’s

N Y k h h k d



New Yorker , Rolling Stone, Time,Worth, and many other publications.

He was also art director or JosephPapp’s New York Shakespeare

Festival, and Normal and Wigwag

magazines. He has created post-

ers over the years or a wide rangeo clients, rom Caesar Chavez’s

United Farm Workers to the Schoolor Visual Arts and many other

non-prot and theater organizations.

grown to include more than 200 employees at oces in London,

New York, San Francisco, Austinand Berlin. Each o the nineteen

dierent partners not only leadsprojects, but is also an opinion-leader

in his or her particular discipline andarea o expertise; most partners

are also teachers, lecturers andwriters,as well as subject matter or

other design critics and writers.Projects include everything rom resi-

dential, commercial and institu-tional architecture commissions, to

identity, editorial, exhibition, graphic,print, web and product design.

New York oce, where he workedwith clients such as Nine West,

Northern Telecom, Rizzoli Publish-ing, the Rockeeller Foundation,

and United Technologies. In 2005,Pirtle let Pentagram and re-opened

Pirtle Design, this time in NewPaltz, New York, where he works on

identity, signage, screen graphics,publications and packaging. Pirtle’s

work has been widely exhibitedand is in the permanent collections

o several prestigious museums.

3268138

Pushpin Studios, Inc.

Known or their witty, inventive,

arresting illustrations, Pushpin Studiosis the design sandbox ounded in1954 by Seymour Chwast, MiltonGlaser and Edward Sorel, and isnow synonymous with Chwast. From

1976 to 1980, the studio also prod-uced an award-winning bi-monthly

bli ti Th P h Pi G hi

Chris Pullman

Chris Pullman is vice president o

branding and visual communica-tions at WGBH in Boston, where,

since 1973, he has developed andguided the station’s brand expres-sion in title sequences, credits,

animations, marketing, advertising,interactive media, and teaching

t l P ll t d th titl

PMH

Minneapolis-based Peterson Milla

Hooks Advertising does extensiveprint, television and outdoor adver-

tising or Target, and is the creativeorce behind their signature, highly

stylized, totally accessible, design-

is-or-everyone look. Dave Petersonhas said o his work with Target,“W ’ bl d ith b bl



publication, The Push Pin Graphic,with Chwast as art director, design-

er, and contributing illustrator.His illustrations have graced maga-

zines such as Time, The New York

Times, and Graphis; and he has

developed packaging or everythingrom McDonald’s Happy Meals

to diabetes drugs or Upjohn, andlogos or the Brooklyn Children’s

Museum, the Discovery Museum,and Electronic Data, Inc. In addi-

tion, he has illustrated numerouschildren’s books and educational

products and his work is collectedin many major art museums.

tools. Pullman created the titlesequences or Masterpiece Theatre

and Antiques Roadshow, as wellas the WGBH animated on-air

signature. Prior to WGBH , Pullmanworked as a typographer and letter-

press printer and had his owndesign studio and consultancy.

Pullman received his MFA rom Yalein 1966, where he has continued to

teach and work as a senior critic.

“We’re blessed with probably one

o the best designed logos in thebusiness. There’s just so much you

can do with it.” Minda Gralnek hasbeen a creative director at Target

since 1990 and is credited with

developing its unique position as alow-priced destination or products

that are well-designed, innovative,practical, and aordable.

186



1101684

Sagmeister Inc.

Stean Sagmeister creates designs

that are oten shocking, requentlyappropriate unusual materials, and

oten use low-budget challenges togreat eect. He once used his ownbody as a canvas and his own blood

as ink, by having an assistantexacto blade pertinent inormation

or a 1999 AIGA Detroit event into

Rudolph de Harak & Associates

Since opening his oce in 1952,

Rudolph de Harak has brought hismodernist sensibility to hundreds

o books, records, and posters, aswell as exhibitions and expositions

that “have transormed didactic

displays into engaging environments,”according to Steven Heller. “Dedicatedto the ecient communication o


Fred Woodward created Rolling

Stone magazine’s signature look,using eclectic compositions that

utilized everything rom imageso classic Americana to custom-

ized type treatments and startling

arrangements o photographyand illustration to express therock-and-roll liestyle the magazine



or a 1999 AIGA Detroit event intohis skin, with the raw photograph

becoming the nished poster. Inanother instance, he used coat

hangers, newsprint, and corrugatedcardboard to create a compelling

ashion brochure on a post-cardbudget. Other clients have included

Lou Reed, David Byrne, the RollingStones, and Adobe. He released his

monograph, Made You Look , in 2001.

to the ecient communication o

inormation, de Harak uses detailthe way a composer scores musical

notes, creating melodies o sensa-tion to underscore meaning.” Most

memorably, de Harak designed

the logotype or McGraw-Hill’s bookdivision and the timeline and typo-

graphic displays or the EgyptianWing o the Metropolitan Museum

o Art. De Harak was also, ordecades, a proessor at Cooper

Union, as well as Yale, Parsons,Pratt Institute, and other schools.

rock-and-roll liestyle the magazine

celebrated and illuminated. Hebegan his career as a graphic de-

signer working at several regionalmagazines including Memphis andD Magazine in Dallas. In addition

to his work as art director orRolling Stone, Woodward was also

creative director o the larger com-pany. In 2001, Woodward became

design director at GQ magazine.

188

78 142114

Skolos/Wedell

Skolos/Wedell, located in Canton,

Massachusetts, is the designstudio o the husband-and-wie,

photographer-and-designer teamo Thomas Wedell and NancySkolos. Established in Boston in

1980, the rm is known or itsintriguing combinations o graphic

design and photography that incor-

Jack Stauacher

Jack Stauacher opened Green-

wood Press in 1936 in San Mateo,Caliornia, and began publishing

books and limited editions thatshowcased a mastery o typography,

design, and printing technique. In

1955, he was awarded a Fulbrightgrant that took him to Florence,Italy or three years o study with

SamataMason

“We tell stories. We make emotional

connections. We deliver commu-nication that engages people and

contributes to a positive behavioralchange,” notes the SamataMasonwebsite. Founded in Chicago in

1995 by Dave Mason and Pat andGreg Samata, the rm has grown

to include oces in Vancouver and



design and photography that incorporate collage, multiple exposures,

and other techniques to createcubist-infuenced, three-dimensional

images. Clients have includedCallaway Editions, Digital Equipment

Corporation, EMI Music Publishing,James River Corporation, SBK

Records, SCS Communications,Steelcase Design Partnership,

and The Walker Art Center. Skolosand Wedell both received degrees

rom the Cranbrook Academyo Art and their posters have been

collected by MoMA and theMetropolitan Museum o Art.

Italy, or three years o study with

master printers. When he returnedto the United States, he became

a proessor at the Carnegie Insti-tute o Technology (now Carnegie

Mellon) and created the New Lab-

oratory Press, beore becomingtypographic director at the Stanord

University Press and a teacher atthe San Francisco Art Institute. In1966, he reopened the GreenwoodPress in San Francisco and began

once again printing books andlimited editions, as well as engaging

in typographic experiments.

to include oces in Vancouver andNew York. Clients range rom small

start-ups to well-established com-panies including Motorola, Sesame

Workshop, Thrity Car Rental andFox River Paper. In addition to the

ull range o strategic design andcorporate communications services,

Dave Mason and Greg Samataalso ounded OpinionLab, which

oers automated user-eedbacksystems or website and other

online content providers.



628060

Vanderbyl Design

“I am one o those designers

who works as comortably in twodimensions as three, and or whom

design has neither discrete disci-plines or barriers,” says Michael

Vanderbyl, who ounded Vanderbyl

Design in 1973 in San Francisco,and thereby helped establish that

city as a major design center. Since

Tolleson Design

San Francisco-based Tolleson

Design “crats solutions that inte-grate multiple design disciplines”

and result in “adaptable systemsthat dene visual communicationacross an organization.” Clients

have included Chronicle Books,Fox River Paper, Godiva, Kodak,

Liz Claiborne, Matell, Microsot,

Bradbury Thompson

Bradbury Thompson is best known

or his work with typography. In1950, he created Alphabet 26, an

alphabet that sought to simpliythe inconsistencies in our regularalphabet and thereby make it

easier or children to learn to read.He also created a Monoalphabet.

In his hugely productive career, he



y j gthen, the studio has worked in gra-

phic, urniture, product, packaging,textile, and interior design or

clients as varied as the America-One/America’s Cup Challenge boat,

Bernhardt Furniture, The WaltDisney Company, Esprit, IBM, Luna

Textiles, the San Francisco MoMA ,and Teknion Furniture. Vanderbyl

is also Dean o Design at the Cali-ornia College o the Arts and has

work in the permanent collectionso several museums.

, , ,Nike ACG, Rizzoli, and Urban Out-

tters. Steve Tolleson’s monographnot only oers detailed proles

o many notable projects createdsince the studio opened in his

bedroom-cum-studio in 1984, butalso details the studio’s process

o research, collaboration, visualexploration, and environment,

metaphorically reerenced in thebook’s title, Soak Wash Rinse Spin.

g y p ,was art director at Mademoiselle

magazine and design director or Art News and Art News Annual .

He designed more than 90 stampsor the U.S. Postal Service, created

the Westvaco Inspirations serieso publications, and designed the

Washburn College Bible, an 1800-page, three-volume tome that

includes reproductions o master-pieces o religious art and original

screen prints by Jose Albers.Bradbury Thompson died in 1995.

16015030

Werner Design Werks, Inc.

Sharon Werner opened Werner

Design Werks in Minneapolis in 1991,ollowing a stint at Duy Design

Group, which, in turn, ollowed onthe heels o her graduation romcollege. Known or designs that

create a strong visual languagewith clear type and without unnec-

essary complications, the studio

VSA Partners, Inc.

VSA Partners is one o the astest

growing integrated marketing rmsin the United States, with oces in

Chicago, Minneapolis, New York,and St. Louis. Since its ounding in

Chicago in 1983, the company has

built its reputation by using inspiringand humanistic approaches tocorporate communications, annual

Vignelli Associates

Vignelli Associates was ounded

in 1971 in New York by Massimo Vignelli and his wie, Lella. Vignelli

started his career in 1966 byopening the New York branch

o Unimark International and has

designed identities or American Airlines, Ducati, and Benetton;packaging or Bloomingdales,



has created get-out-the-vote posters

or AIGA ; catalogs or Blu Doturniture; brochures or Comedy

Central; branding, packaging, andsale promotions or Möet Hennessey;

promotions or Mohawk Paper;naming, packaging, and brochures

or Mrs. Meyer’s-Clean Day; andHalloween promotions and pack-

aging or Target Corporation, amongothers. In addition to many design

accolades, the studio was alsonamed Target’s Vendor o the

Year in 2002.

reports, and marketing materialsthat not only position the brand,

but create clear and measurableresults, and bring “the energy o

consumer campaigns” to business-

to-business communications. VSA Partners’ clients include BP,

Caterpillar, Converse, GeneralElectric, Sappi Fine Paper North

America, Harley-Davidson, IBM and Nike.

Brookstone, IBM, and Rosetti; andtransportation and architectural

graphics, posters, interiors, books,magazines, urniture, and products,

including the Knoll Handkerchie

Chair. Vignelli is considered a truemodernist: “I like design to be

semantically correct, syntacticallyconsistent, and pragmatically

understandable. I like it to bevisually powerul, intellectually

elegant, and above all, timeless,”he has said.

192

94

Wieden+Kennedy

Wieden+Kennedy brought increas-

ed vigor to branding by combiningemotion, style and storytelling to

create new orms o advertising.Their Nike partnership has resultedin some o the industry’s most

memorable work, rom “Just Do It,”to the Charles Barkley, “I Am Not

A Role Model” ad, and the “I You



Let Me Play” girls empowerment

campaign. Founded in Portland,Oregon, in 1982, and now one

o the largest independent adver-tising agencies in the world, W+K

is expanding into new ventures,including TokyoLab, a record

label and creative workshopthat has released CDs combining

music, graphics and lm, andWieden+Kennedy 12, a program

that lets 12 select studentswork alongside proessionals

on real-world projects.

About

AIGA

About

Sappi Fine Paper

Production

Notes

Seeing how this book refects the

very best o design over the lastew decades, it seemed only tting

that we print this stellar collectionon McCoy. Since its introduction,

McCoy has become the standard bywhich all other papers are judged—

the best-o-the-best in premium

paper. We hope you’ll enjoy howthe brilliance o McCoy brings these

timeless ideas to lie.

Sappi Fine Paper North America

( SFPNA ) is the leading North American producer o coated ne

paper used in premium magazines,catalogues, books and high-end

print advertising. Headquarteredin Boston, Massachusetts, Sappi

Fine Paper North America is known

or innovation and quality. Its brandnames include McCoy, Lustro

Oset Environmental ( LOE ), Opus,d S t d th

AIGA, the proessional association

or design, is the oldest and largestmembership association or design

proessionals engaged in the disci-

pline, practice and culture o design.

Its mission is to advance design as

a proessional crat, strategic tool

and vital cultural orce.

Founded as the American Instituteo Graphic Arts in 1914, AIGA has

become the preeminent proessional



Dust Jacket: Printed on McCoySilk Text 80lb/118gsm. Match

black, match silver, overall satinaqueous and blind emboss.

Cover: Printed on McCoy GlossCover 80lb/216gsm. Matchblack, match silver plus overall

satin aqueous.

Interior: Printed on McCoy MatteText 100lb/148gsm. 4-color pro-

cess, 2 hits match black, match

silver, spot dull varnish plus overallsatin aqueous.

Design: VSA Partners, Inc.

and Somerset and are some o the

industry’s most widely recognizedand specied. SFPNA is a division

o Sappi Limited ( NYSE:SPP ), aglobal company headquartered in

Johannesburg, South Arica, withmanuacturing operations on our

continents in nine countries, salesoces in 50 countries, and custom-

ers in over 100 countries around theworld. Learn more about Sappi at:

www.sappi.com.

become the preeminent proessional

association or communication de-

signers today. Over the past decade,

designers have increasingly been

involved in creating value or clients

through applying design thinking

to complex problems, even when

the outcomes may be more strategic,

multidimensional and conceptual

than what most would consider

traditional communication design.

AIGA currently represents more than

20,000 designers in all disciplines

through national activities and localprograms developed by more than

55 chapters and 200 student groups.

194



100% o the electricity used to manuacture McCoy was

generated using Green-e certied renewable energy.

The names, symbols, logos, and all other intellectual property o

the companies, brands, and people appearing herein are the

exclusive property o their respective owners and should not

be interpreted as an endorsement o or by Sappi; any legal and

equitable rights in their intellectual property are exclusively

reserved to those owners.

SAPPI is a trademark o Sappi Limited. McCOY is a registered

trademark o Sappi Fine Paper North America. For McCoy paper.

© 2007 Sappi Fine Paper North America. All Rights Reserved.

10%

Cert no. SW-COC-1705

Sappi Fine Paper North America

225 Franklin StreetBoston, MA 02110

800.882.4332www.sappi.com

AIGA

164 Fith AvenueNew York, NY 10010

212.807.1990212.807.1799

www.aiga.org



PRO-5569

Documents

Sappi Mccoy 75 Selections From the AIGA Archives