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Looking Closer 5 LC5 00.qxd 12/1/06 12:12 PM Page i LOOKING CLOSER 5 edited by: Michael Bierut,William Drenttel, and Steven Heller LC5 00.qxd 4/12/06 10:24 PM Page ii © 2006, Michael Bierut,William Drenttel, and Steven Heller All rights reserved. Copyright under Berne Copyright Convention, Universal Copyright Convention, and Pan-American Copyright Convention. No part of this book may be reproduced, stored in a retrieval system, or transmitted in any form, or by any means, electronic, mechanical, photocopying, recording, or otherwise, without prior permission of the publisher. 11 10 09 08 07 54321 Published by Allworth Press An imprint of Allworth Communications, Inc. 10 East 23rd Street, New York, NY 10010 Cover and book design by Pentagram, New York Page composition/typography by Integra Software Services, Pvt., Ltd., Pondicherry, India Library of Congress Cataloging-in-Publication Data: Looking closer. 5, Critical writings on graphic design / [edited by] Steven Heller, Michael Bierut,William Drenttel. p. cm. Includes bibliographical references and index. ISBN 978-1-58115-471-9 (pbk.) ISBN-10: 1-581-15471-2 1. Commercial art. 2. Graphic arts. I. Heller, Steven. II. Bierut, Michael. III. Drenttel,William. IV. Title: Critical writings on graphic design. NC997.L6334 2007 741.6—dc22 2006036530 Printed in Canada LC5 00.qxd 12/1/06 12:12 PM Page iii contents FOREWORD—EDITORS / vii INTRODUCTION / ix Steven Heller SECTION I: GRAPHIC DESIGN AS SYSTEM THE GRAND UNIFIED THEORY OF NOTHING: DESIGN, THE CULT OF SCIENCE, AND THE LURE OF BIG IDEAS / 3 Randy Nakamura TOWARDS CRITICAL AUTONOMY, OR CAN GRAPHIC DESIGN SAVE ITSELF? / 8 Andrew Blauvelt METHOD DESIGNING: THE PARADOX OF MODERN DESIGN EDUCATION / 11 Jessica Helfand PAINTING THE WORLD PINK / 13 William Owen and Fenella Collingridge DEFAULT SYSTEMS DESIGN A DISCUSSION WITH ROB GIAMPIETRO ABOUT GUILT AND LOSS IN GRAPHIC DESIGN / 16 Rudy VanderLans THE BIRTH OF THE USER / 23 Ellen Lupton QUANTUM LEAP: BEYOND LITERAL MATERIALITY / 26 Johanna Drucker FROM THE (A) TRIVIAL TO THE (B) DEADLY SERIOUS, LISTS DOMINATE VISUAL CULTURE / 32 Alice Twemlow LC5 00.qxd 12/1/06 12:12 PM Page iv iv looking closer 5 SECTION II: GRAPHIC DESIGN AS CULTURE THE BEAUTY PART / 43 Rick Poynor THE IMAGE CULTURE / 45 Christine Rosen THINKING INSIDE THE BOX: ASPEN REVISITED / 62 Emily King WHERE THE GIRLS GO / 69 Maud Lavin GRAPHIC DESIGN IN THE COLLECTION OF THE MUSEUM OF MODERN ART / 75 Paola Antonelli AMERICAN MUTT / 77 David Barringer SECTION III: GRAPHIC DESIGN AS FASHION THE DECRIMINALIZATION OF ORNAMENT / 87 Alice Twemlow STYLE IS NOT A FOUR LETTER WORD / 94 Mr. Keedy NOT YOUR GRANDPARENT’S CLENCHED FIST / 103 Phil Patton THE SHOCK OF THE OLD: RETHINKING NOSTALGIA / 106 Jessica Helfand CRIMES AGAINST TYPOGRAPHY: THE CASE OF AVANT GARDE / 108 Steven Heller SECTION IV: GRAPHIC DESIGN AS POLITICS A PRESIDENT AND HIS DOG / 115 Karrie Jacobs THE CITIZEN DESIGNER / 118 Victor Margolin WHERE PUBLIC MEETS PRIVATE: THE LOS ANGELES WOMAN’S BUILDING / 129 Teal Triggs FIGHTING THE IMAGE WARS / 136 Steven Heller LC5 00.qxd 12/1/06 12:12 PM Page v contents v HUMAN DIGNITY AND HUMAN RIGHTS: THOUGHTS ON THE PRINCIPLES OF HUMAN-CENTERED DESIGN / 140 Richard Buchanan SINCE THEN / 144 Milton Glaser RAGING BULL / 149 Rick Poynor CASTLES MADE OF SAND / 152 Lorraine Wild MY COUNTRY IS NOT A BRAND / 161 William Drenttel SECTION V: GRAPHIC DESIGN AS PASSION THE CULT OF GRAPHIC DESIGN / 167 Adrian Shaughnessy GRAPHIC FANTASIES: REFLECTIONS IN THE GLASS CEILING / 170 Véronique Vienne EXPERIMENTAL TYPOGRAPHY.WHATEVER THAT MEANS / 172 Peter Bilak DESIGN AS RELIGION / 176 Nick Currie DESIGNING UNDER THE INFLUENCE / 179 Michael Bierut PART NOTES / 181 Rob Giampietro DESIGN OUT OF BOUNDS? / 185 Dan Nadel DESIGNING THE REAL WORLD / 188 Al Robertson INNOVATION AND RESTRAINT: THE BOOK DESIGNS OF RICHARD ECKERSLEY / 191 Roy R. Behrens SECTION VI: GRAPHIC DESIGN AS IDEA DUMB IDEAS / 197 Mr. Keedy LC5 00.qxd 12/1/06 12:12 PM Page vi vi looking closer 5 WONDERS REVEALED: DESIGN AND FAUX SCIENCE / 202 Jessica Helfand and William Drenttel ED WORDS: RUSCHA IN PRINT / 207 Michael Dooley VISITATIONS / 215 Denise Gonzales Crisp, Kali Nikitas, Louise Sandhaus VISITATIONS REVISITED / 221 Rudy VanderLans MAD DUTCH DISEASE: TEN PROPOSALS FOR A LECTURE ON DUTCH DESIGN/ 224 Michael Rock WHY DESIGNERS CAN THINK / 234 Ralph Caplan BIOGRAPHIES / 237 INDEX / 240 LC5 00.qxd 12/1/06 12:12 PM Page vii foreword In 1992, four working designers conceived of an anthology of critical writings about graphic design. Back then—before iPods and Weblogs—there were few books about graphic design that weren’t picture-driven annuals or monographs.The numerous trade magazines covering the design professions tended to be equally lacking in critical fac- ulties, and worst of all, there was no anthology of writings for students in design pro- grams across the country. Nevertheless, a generation of new writers was beginning to surface in venues such as the AIGA Journal, Eye, and Emigre; in catalogs from the American Center of Design and The Cooper Union; and in isolated essays in the mainstream design media, such as Communication Arts, ID, and Print magazines. Together, these writers were finding a new critical voice—sometimes shrill, occa- sionally oblique, often incomplete in its portrayal or analysis of a particular observation about design. But collectively, by 1992 a body of work had emerged that seemed to represent a new kind of awareness about visual thinking, a new voice in graphic design criticism. It wasn’t a movement, exactly,since the themes and interests remained (and have remained) deeply divergent, but it was indeed a convergence of talented people writing in new and unusually expressive ways. And they were being published with enough frequency that it soon became impossible not to notice that something was going on. The idea for Looking Closer was conceived in that fertile period, with the first volume published in 1994 and this, our fifth volume, published twelve years later. As ever, the goal is to present the most provocative and compelling voices in design crit- icism.Along the way,it bears saying that we’d been inspired by Massimo Vignelli’s credo that there would be no serious design without serious design criticism.This challenge, in many ways, remains unfulfilled; and yet, the quantity and quality of writings anthol- ogized in these five volumes testifies to a kind of extraordinary progress for graphic design literature. It is our hope that this progress—towards sustained scholarship and robust criticism—will continue. Over five volumes, we have published 254 essays by 165 writers.Volume One compiled its essays from thirteen sources, while this volume includes writings from nearly twice that amount, or twenty-three sources. Our most frequent contributors (with more than three essays each) are Michael Bierut,William Drenttel, Ken Garland, Milton Glaser, Jessica Helfand, Steven Heller, D.K.Holland, Karrie Jacobs,Tibor Kalman, Mr. Keedy, Ellen Lupton, Katherine McCoy, J. Abbott Miller, Rick Poynor, Michael Rock,Veronique Vienne, and Lorraine Wild. (To be fair, many of the promising young writers in the more recent volumes were not publishing their writings yet in 1994.) LC5 00.qxd 12/1/06 12:12 PM Page viii viii looking closer 5 In the next few years, there will continue to be new writers as well as new venues, especially as online journals encourage more copious opportunities for self- publishing.The existence of blogs does not, in and of itself, create writers: writers will emerge slowly and infrequently, as individuals take the time to write with the kind of critical perspective that sheds new light on history,theory,and practice.The true prom- ise for these writers lies in curricula provided in our schools and universities, where critical modes of discourse must continue to be encouraged, and from which the next new generation of writers will undoubtedly emerge. Perhaps, too, we will begin to see new opportunities for design writing as it migrates into mainstream media, bringing design criticism to a world of nondesigners. The challenge for Looking Closer, however, has remained the same: to identify new writers with a distinctive and critical voice who can help us better comprehend the work we make. These writers advance our profession through their unparalleled capacity to question everything, adding critical depth to our history through deeply engaged, uniquely perceptive, and thoughtfully inquisitive writing. This, perhaps more than anything else, is what these five volumes of collected essays have given us. And now, some acknowledgements. Michael Bierut and Steven Heller partic- ipated as editors in all five volumes, while William Drenttel participated in four vol- umes.Together, we wish to warmly acknowledge the input of three other writers who participated as editors of individual volumes: D.K. Holland, Jessica Helfand, and Rick Poynor. On a personal note, the editors would like to acknowledge the continued sup- port, over the life of this series, of our colleague Rick Poynor, who remains for us all the ultimate champion of design criticism. Among many acknowledgments, a key one goes to our publisher,Tad Crawford, who believed in the spirit of our initiative and who followed through to realize its long- term potential. Even in lean years,Allworth Press continued to keep these books in print at a reasonable price. This series, and its impact on design writing and thinking over a decade, only existed because of Tad’s unwavering commitment, and for this we are espe- cially grateful.These volumes also benefited from the input of other talented editors and professionals at Allworth:Theodore Gachot, Michael Madole, Bob Porter, Nicole Potter- Talling, and Cynthia Rivelli. Elinor Pettit was a freelance researcher on the first edition.
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