Apple’s fall rollout of new products isn’t welcome news for some of us still adjusting to the iPhone 5 and getting the feel of the iPad we got last Christmas. Many of us who grew up in the analog age view every electronic upgrade as stressful and disruptive. Innovation for innovation’s sake isn’t always welcome. Just because you could, doesn’t mean you should. Millennials, born thinking of their opposable thumbs as digital operating devices, don’t understand that “intuitive” is a relative and generational term. Which brings me to this classic comedy sketch created for Norwegian TV a few years back.
Commissioned to redesign the façade of the Louis Vuitton’s flagship store in Tokyo’s Matsuya Ginza, architect Aoki Jun & Associates transformed what previously was a concrete block tower into a luminous pearl shimmering in the urban landscape. Inspired by the luxury retailer’s monogram and the city’s art deco architectural history, Jun turned Vuitton’s monogram into a repetitive geometric motif. The pattern was then pressed and perforated onto sheets of aluminum and coated with an exceptionally durable pearlized fluropolymer paint. The opal hue and three-dimensional pattern give the façade a plush quilted appearance that subtly changes with the light throughout the day. At night, LED lights placed behind the perforated reliefs of the façade make Vuitton’s monogram visible in the dark. Very classy, very cool.
The American Institute of Graphic Arts, better known as AIGA, is celebrating its 100th anniversary this year. That’s a remarkable milestone when you consider that graphic design didn’t really exist as a profession until the 20th century. Before that, printers and commercial artists handled such tasks. Interestingly, graphic design owes its rise in part to the First World War, which started in 1914 and set off a scramble for army recruitment and war bond posters. This accelerated the production of posters (and demand for graphic artists) as governments sought to rally citizens to support the war effort. The First World War also happened to coincide with the widespread adoption of offset lithographic printing, which enabled mass production of affordable pulp novels, magazines, packaging and other paper-based media.The graphic arts industry was suddenly born. Today there are more than two million graphic artists and designers in the U.S. alone.
A team at the Harvard Innovation Lab undertook a project to reveal how desktops have evolved since the first personal computer appeared 35 years ago. Photographed by dougthomsen.tv and engineered by anton georgiev, the video version below shows how office necessities (e.g., Rolodex, reference books, hand-held calculators) have gone from the actual to the virtual, from physical objects to digital apps. The video, as seen on Designboom.com, is a fascinating look at how technology has transformed office tasks. It also suggests that offices of the future should be redesigned accordingly. Corporations once filled vast high rises with thousands of employees, hundreds of file cabinets and office equipment, and rows of clerical help to handle all kinds of paperwork. Today “offices” are essentially portable. Workers don’t have to be tethered to their desks. They can stuff their laptop and mobile phone in their backpacks and set up shop anywhere. So, what is the purpose of gathering employees into a single workspace? What kind of furniture and equipment will make workers more productive and more collaborative? With so many documents stored in the clouds instead of in metal file cabinets, can the physical office layout be sized to take up less square footage? It’s time to occupy no more space than we really need.
In the realm of classic comic book heroes, there is Spiderman, Superman, Batman, Wonder Woman, the Hulk, the Green Lantern …and Tintin the baby-faced boy reporter. A comic strip introduced in 1929 by Belgian cartoonist Herge (Georges Prosper Remi), “The Adventures of Tintin” relates tales of a Belgian teenager with a round head and a dorky quiff hairstyle who is dispatched by a youth newspaper called Le Petit Vingtieme (the Little Twentieth) to file investigative reports from hot spots around the world. Unassuming and good-natured, Tintin gamely goes wherever he is assigned, taking his little fox terrier, Snowy, with him. His travels often put him in the midst of political upheaval in the land of the Soviets, the Belgian Congo, China, Chicago, Latin America and elsewhere, and in trying to get to the bottom of a mystery, he is forced to deal with ruthless special agents, diamond smugglers, Al Capone gangsters and other villains who want to run him over, shoot him, torture him, kidnap him and feed him to crocodiles.Tintin and Snowy deal with each encounter without fear and get themselves out of each jam through quick-thinking action and sometimes through sheer dumb luck. What has kept Tintin so beloved over the decades is that he isn’t presented as an egotistical super human like Spiderman and Wonder Woman, but as an average young man who doesn’t seek out danger but doesn’t run from it either. In Brussels, Tintin and Snowy are honored with a life-size bronze statue, and they are even commemorated on a euro coin, which is legal tender in Belgium. An unlikely action hero, Tintin is probably the most admired fictional Belgian in recent history.
– Saul Bass
More than four decades have gone by since acclaimed designers Massimo Vignelli and Bob Noorda of Unimark International were hired by the New York Transit Authority (now the MTA) to modernize and unify the look of the subway signage, which by Noorda’s own account “was a mess.” Cluttered with varied typefaces of different sizes and rendered on different materials from mosaic tile to a paper sign stuck to the wall, the old signage system confused more than aided travelers. In its place, Vignelli and Noorda developed a cohesive subway wayfinding system designed to promote intuitive understanding — so much so that they promised: “The passenger will be given information or directions only at the point of decision. Never before. Never after.” It did all that and more. The New York Transit Authority’s wayfinding system is still considered a masterpiece of clarity, logic, consistency, and elegant modernist design.
The accompanying 174-page Graphic Standards Manual was as brilliantly written and produced by Vignelli and Noorda. One day in 2013, two young designers at Pentagram – Jesse Reed and Hamish Smyth – stumbled upon an original copy of the manual in the basement of Pentagram’s New York office. The pair found the manual so awesome that they wanted to share it with friends, so they created a dedicated website (thestandardsmanual.com) and posted scanned pages online. The site instantly went viral. Within 72 hours, more than a quarter million people visited the site. Although delighted, Reed and Smyth felt strongly that an on-screen viewing didn’t do justice to the beauty of the real Standards Manual. To truly appreciate it, they felt people should see it full size in print, and they set out to produce a book with an introduction by Vignelli protege and Pentagram partner Michael Bierut and an essay by New York Magazine’s Christopher Bonanos, author of “Instant: The Story of Polaroid”.
Those of you who clicked on the Print Archive only to find a photo of covers (seen here) and nothing else, we are happy to report that you can now access the back issues online. Previously only key stories had been posted because Kit needed the intern who was scanning old articles for other tasks. Finally, everything has been scanned and you can view them in their entirety here. We are also pleased to report that for those who want the real printed publication, past editions are available while they last from Corporate Design Foundation; email firstname.lastname@example.org. (For the record, yes, we miss the print editions too, and would be thrilled to return to ink on paper.)
A monogram perhaps may best be described as a logo with attitude, a certain snob appeal. It’s more than just graphic shorthand for a brand name. In the fashion world, the right monogram says luxury, refinement, and discerning taste. Consumers like being associated with these qualities and usually don’t mind if the monogram is prominently visible on their shirt or purse for all to see. How many of these monograms can you name? Answers on the next page.
talented, exceptional and wonderful
the student may be,
without work there is nothing
but potential and talk.”
– Lou Danziger
While thumbing through Austin Kleon’s book “Steal Like An Artist; 10 Things Nobody Told You About Being Creative” (Workman Publishing), we happened upon a graphic sketch that Kleon admits he “stole from his friend Maureen McHugh.” It spells out seven phases in the “life of a creative project” from an emotional perspective, not the usual process steps – e.g., concept development, research, storyboards, etc. It shows that for most of us in creative fields, projects proceed along two parallel tracks: one cerebral and dedicated to problem-solving, the other moody and erratic. Because we at @issue can’t leave well enough alone, we decided to steal McHugh’s — via Kleon’s – idea but let Kit Hinrichs embellish it with his own doodling drawings. Here it is.
This promo could just as easily have been made to promote printing papers, instead of IKEA’s 2015 home furnishings catalog. Created by BBH Asia Pacific, the IKEA marketing video channels the Apple brand persona in style and tone with its uncluttered, plain white background and its wide-eyed, uncynical spokesman explaining the amazing features of IKEA’s bookbook catalog – touch interface, eternal battery life, instant loading with zero lag, fully charged, no cables, expandable interface, preinstalled content, touch browsing, fast scrolling, easy bookmark and sharing capabilities, and voice activated password protection. The bookbook has everything you’ve ever desired in a modern information delivery system. So simple, so portable, so intuitive, it’s a wonder that Apple hadn’t thought of it before. But let’s give credit where it is truly due – to Gutenberg and medieval bookmakers. Steve Jobs didn’t invent the “wheel”; he invented an elegant means to adapt the desirable features of print to a digital platform. The attributes that consumers seek in an information delivery device have been around for at least 600 years, and tech giants have spent the last several decades trying to replicate the kind of ease-of-use offered by paper.
At first this commercial for Temptations Tumblers cat treats by adam@eveDDB/London seemed like a brazen effort to hook viewers in by combining two of the most popular subjects on YouTube — top athletes and adorable cats. The first half of the “Time to Play Ball” Temptations commercial did look like an ad for Nike or Adidas, with not a furry paw in sight. But then the shared attributes of jocks and cats came into focus. The athletes looked steely, determined, alert and focused. Even the hairs on their neck stood at attention. The cats, presented in elegant slow motion, exhibited the same kind of single-minded concentration. Nothing distracted them from the tiny Temptations Tumblers tossed their way. The comparison came together nicely and worked. (It didn’t hurt to be able to feature cute cats and buff jocks either.)
Moms Demand Action, a gun-control group backed by former New York City mayor Michael Bloomberg, has launched an advertising campaign asking retail chains to refuse service to shoppers who openly carry assault rifles into their establishments. In response to retailer claims that doing that would violate their customers’ civil liberties, the ads point out that retailers have had no qualms about enforcing a ban on shirtless shoppers, eating ice cream cones and skateboarding. This series of ads targets Kroger, the largest grocery chain in the U.S. So far, nearly a half dozen national restaurants and stores have reversed course in response to Moms Demand Action advertising and publicity campaign. No word yet from Kroger.
People have forgotten – or hadn’t considered it in the first place – that Band-Aid® is a trademarked brand registered by pharmaceutical and medical device giant Johnson & Johnson (J&J). For most of us, Band-Aid generically describes any kind of adhesive bandage with a gauze pad in the center. The term has even become part of our colloquial language –e.g., who hasn’t called a temporary fix a “band-aid solution.” Actually, Band-Aid was invented in 1920 by Earle Dickson for his wife, Josephine, who was a bit accident-prone around the house. Dickson, a New Jersey cotton buyer for J&J, noted that his wife often used tape to hold cotton balls over her nicks and burns, but the tape usually fell off as soon as she returned to her task. Dickson devised an easier method; he placed squares of surgical gauze at intervals on a strip of tape and used a length of crinoline to keep the tape from sticking to itself so it could be stored rolled up. All Josephine had to do was unroll the tape, cut off as much as she needed and dress her own wound. Dickson mentioned his little invention to colleagues at J&J and his boss thought it was so ingenious that Dickson’s idea was put into production. At first, Band-Aid Adhesive Bandages had to be made by hand and were an awkward 2 ½ inches wide by 18 inches long. In 1924, J@J moved Band-Aid into mass machine production and resized the product to ¾ inch wide and 3 inches long, with a thin red thread to pull off the paper wrapper. Targeted to young families, J&J promoted Band-Aid by donating the product to Boy Scout troops across the U.S. Sales took off. By World War II, Band-Aids were standard issue in soldiers’ mess kits. Band-Aid products became so ubiquitous, the brand was not only the market leader for this category of adhesive bandages, it became synonymous with all products in this category, much to the chagrin of Band-Aid’s competitors.
Lufthansa Airlines came up with a fun way to get consumers to pay really close attention to their online “Passengers on Tour” promotional campaign. It turned each advertisement into a “Where’s Waldo” – like game, inviting viewers to find the Lufthansa tourist(s) in each picture for the chance to be entered into a raffle for daily and grand prizes. Lufthansa’s Munich-based online marketing agency, Plan Net, commissioned 14 illustrators from around the world to capture the attractions and excitement of 14 specific destinations that the airline serves. With so much to see and so much going on, each picture begs to be explored from edge to edge. The campaign took its inspiration from German “wimmelbilder” (hidden object) books, children’s picture books teeming with details, people, animals, and things. Each image features dozens of vignettes of everyday scenes that are connected by the shared environment. The Lufthansa ads took the meaning of hidden objects literally by inviting viewers to click on the Lufthansa tourist in the picture. Choose right and you’re in the daily raffle. The more often you play, the greater your chances in the grand raffle – incentive to keep coming back to look at all 14 ads.