The charm and beauty of San Francisco have inspired countless artists and designers and earned it acclaim as the best and happiest city in America, not to mention the most romantic. (We know we love it.) To celebrate the city, AIGA San Francisco has curated InsideOut SF, an exhibition and silent auction of original poster designs that highlight personal impressions of the city. The show features new posters by Bay Area-based designers, photographers and illustrators (the “Inside” perspective), as well as some of the most influential creatives from around the world (the “Out”). Pentagram’s Natasha Jen, Eddie Opara, John Rushworth, Paula Scher and Marina Willer have all contributed designs for the event. (Check out the full list of contributors here.) Proceeds from the sale will benefit the San Francisco chapter of AIGA, with funds going towards scholarships, educational programming and community events, such as SF Design Week.
The posters will be exhibited and auctioned at the AIGA SF Fall Gala on Tuesday, November 12 at Terra Gallery, 511 Harrison Street in San Francisco. Get your tickets here.
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This year Vanity Fair celebrates its 100th anniversary as the quintessential modern magazine. Founded in 1913 and published until 1936 (when it was folded into Vogue), then revived in 1983, VF is one of Condé Nast’s flagship publications and has exhaustively chronicled pop culture, society, politics, business, scandal and celebrity through periods of enormous change. Pentagram’s Luke Hayman and team have designed Vanity Fair 100 Years: From the Jazz Age to Our Age, a new commemorative book published by Abrams that tells the story of the magazine’s extraordinary first century.
Hayman and his team worked closely on the book with Graydon Carter, Vanity Fair’s editor-in-chief, and David Friend, editor of creative development, as well as Lenora Jane Estes, VF associate editor, and Chris Dixon, creative director. Vanity Fair has always published the best of the best in writing and images, and the main challenge in designing the book was having too much to choose from, all of it great.
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Animation of the Curly One Productions logo.
The animated graphic identities that appear at the end of a television show serve as quick, distinctive signatures for the producers behind the program. Pentagram’s Emily Oberman and team have designed the identity for Curly One Productions, the company of the producer Corin Nelson. Oberman recently collaborated with Nelson on the opening titles and graphics for “The Queen Latifah Show”, for which Nelson is one of the executive producers. Nelson is a five-time Emmy Award winner who has executive produced, run or developed a number of series including “Chelsea Lately,” “The Nate Berkus Show,” “The Rosie O’Donnell Show,” “The Sharon Osbourne Show,” and “It’s On With Alexa Chung.”
The Curly One name was inspired by Nelson’s own signature curly locks, and the logo—literally, a “curly” “1,” get it?—is a mix of grit and glamour that sums up her personality: a little bit rock ‘n’ roll, feminine, smart and funny.
“I love to design production company logos because they only appear for two seconds, and so you get to do something cool, fun and memorable for just an instant, and people get to know it over time,” says Oberman. “It’s the Snapchat of logos!”
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It may be October in the rest of the world, but in New York it’s the month of Archtober, the annual festival of architecture and design. For the third year running, Pentagram’s Luke Hayman and team have designed the graphics for the event, building on the yellow rectangle of the Archtober identity they developed for the inaugural edition in 2011. For the third festival, this simple graphic frame has been joined by the three-sided shape of a triangle.
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To celebrate its 50th anniversary this year, the National Theatre in London invited five internationally renowned graphic designers to each create a poster that represents one of the NT’s five decades. Pentagram’s Paula Scher has designed a poster that features custom typography inspired by the NT’s original home at the Old Vic. Other participating designers include David Carson, Michael Craig-Martin, Graphic Thought Facility and Jamie Reid. Each of the 20″ x 30″ (508mm x 762mm) signed prints has been published in a limited edition of 200 and is available for purchase at “Shopping and E*ting,” a special pop-up shop at the NT’s home on the South Bank, as well as online. Scher’s design is also available as a greeting card and tote bag. The pop-up launches today and remains open through 12 January.
Project Team: Paula Scher, partner-in-charge and designer; Jeff Close, designer.
Quick Link: Natasha Jen to Speak at AIGA Chicago’s Design Thinking II
Ten years ago Pentagram’s Paula Scher designed the graphic identity for Jazz at Lincoln Center, the country’s premier institution for jazz performance. Now Scher has revisited her classic identity with an update that riffs on the existing logo and expands it into custom typography for the institution.
The refreshed identity simplifies the original wordmark to make it more contemporary. The original identity accompanied Jazz at Lincoln Center’s 2004 move into its home at the Time Warner Center on Columbus Circle, several blocks away from Lincoln Center proper. Now that Jazz is recognized as a major cultural institution in its own right, the update clears away the “at Lincoln Center” and leaves the organization as exactly what it is: Jazz.
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When all New York’s creatures great and small make their pilgrimage to the Cathedral Church of Saint John the Divine this Sunday for its annual St. Francis Day Blessing of the Animals, they’ll encounter a new set of commandments. Pentagram’s Michael Bierut and team have created a series of signs for the Cathedral that gently remind visitors to curb and leash thy dogs. The signs use the identity we designed for the institution, which employs the custom font Divine, a redrawn version of Frederic Goudy’s 1928 Blackletter. The signs will be a permanent addition to the Cathedral grounds, a popular spot for walking dogs in the neighborhood.
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Quick Link: Michael Bierut Interviewed on Cameron Moll’s Hired Podcast
During a visit to her parents’ house in Yonkers, New York, Pentagram’s Emily Oberman made an unusual discovery: a cache of extraordinary pen-and-ink drawings made by her mother, the artist and illustrator Arline Simon, that depict the Army-McCarthy hearings of 1954. Drawn directly from the hearings as they aired on live television, the portraits brilliantly capture the likenesses of the key players in the proceedings, as well as the immediacy and impact of a watershed event that captivated the nation. The full series of 33 drawings have been collected in the new Pentagram Papers 43: Drawing McCarthy, designed by Oberman and published in advance of the 60th anniversary of the hearings next spring.
The book includes an introductory essay by Victor Navasky, former editor of The Nation, current chair of the Columbia Journalism Review and author of Naming Names, the definitive account of the Hollywood blacklist and the Red Scare in 1950s America. Oberman contributes an essay about her mother.
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