Paula Scher called Mike “an earth-shattering, powerful designer of important imagery.” With fifty years of experience in art direction and branding, and with clients like Steven Spielberg and LucasFilms, A+M and MGM, Levi’s and Gotcha, Disney and Playboy, Honda and Volkswagen, his enormous influence on the editorial, advertising, music, and motion picture fields is inestimable. He’s also earned a “bad boy” reputation for having created one of the world’s most recognized brand images, the notorious Joe Camel.

Mike’s presentation, titled “… the Wild West Years,” will cover his groundbreaking formative work, which includes his iconic, concept-driven publication designs for West, Surfer, Rolling Stone, and Francis Ford Coppola’s City. He’ll also share anecdotes about Michael Jackson, Apocalypse Now, and other celebrity stories.

to recap:

Mike Salisbury
“… the Wild West Years”
Thursday, November 15, 7:30 p.m.
Art Center College of Design
L.A. Times Media Center
1700 Lida Street
Pasadena, CA  91103
> open to the public
> free admission
> no reservations required
> free parking in student lot
Looking forward!

Lots of special guest speakers coming up in my “Design History 2″ time slot this semester. Dates below. Mark your calendars. Further info on all events to follow.

• Thursday, Oct. 25th, 7:30 pm, LAT Media Center  –
“Petrula Vrontikis’s 3×3: Type Guys”
Kyle Cooper: Founder, Prologue and Imaginary Forces, creative film design agencies.
Jeremy Mende: Principal at MendeDesign, San Francisco visual communications firm; Associate Professor at CCA.
Simon Johnston: Designer; artist; Print Emphasis Faculty Director in Art Center’s Graphic Design Dept.

• Thursday, Nov. 1st, 7 pm, LAT Media Center  –
“Visual Communication for the Built Environment”
Deborah Sussman: President at Sussman/Prejza, environmental graphic design company.

• Thursday, Nov. 8th, 7:30 pm, Board Room  –
“Illustration and Comic Art: Intersections”
Arlen Schumer: Editorial and advertising illustrator; author; comic book historian.

• Thursday, Nov. 15th, 7:30 pm, LAT Media Center  –
“Branding the West Coast”
Mike Salisbury: Legendary brand designer for film, music, advertising, and publication companies.

Bonus speaker event at my Loyola Marymount University class…
• Friday, Nov. 16th, 11 am, Burns Art Center, room 211  –
“The Art and Design of Letterforms”
Andrew Byrom: Graphic designer; typeface designer; CSULB professor.

I first saw Michael Bierut onstage during the design “reality show” Command-X at the AIGA Make/Think conference in Memphis. If Sean Adams was the cool and collected advice-givning Tim Gunn character, Michael was the bubbly host Heidi Klum (hey, that’s a compliment if I ever heard one). During the student portfolio review later that evening, I was trotting around with another designer helping with Communication Design 1-esque critiques, and happened to end up next to Michael. Trying not to trip over my own tongue, I decided to introduce myself. That night we both ended up at the customary conference Design Observer party and hit it off. Michael has been a partner at Pentagram for many years, and I am in complete awe of his work. I was absolutely honored to get a quick interview, and I hope you find him as insightful as I do.

Is there anything you wish you had done earlier in your career as a designer?

I personally regret something I did too early: I decided at the age of 15 to become a graphic designer and set myself to that task in a very single-minded way. When I went to study design, our graphic design studios started in freshman year. My first job for Massimo Vignelli started a week after I graduated. A little more than ten years later I became a partner at Pentagram. My last day at Vignelli was Friday. My first day at Pentagram was the following Monday.

My regret is that I have left very little time for reflection, particularly at the start of my career. I envy my three children, each of whom chose to attend a liberal arts college to get a broad education. I got exposed to other subjects in school — I attended a university rather than an arts school — but I can’t deny that I was in a hurry to start my life as a designer. Nothing wrong with enthusiasm, but I have had to compensate my entire life since then for gaps in my education.

I saw a video of well-known designers giving advice to students, and you said the key to success is being a student for your whole life. Beyond that, what advice would you give students about to enter the field?

Be interested in lots of different things beyond design. Be curious and energetic. Be nice to people. And as soon as you’re ready, start taking the initiative. I remember the moment in my early years working at Vignelli Associates when I realized that it wasn’t necessary to sit with a blank pad in front of me and wait for Massimo and Lella to tell me what to do, that instead I could put some ideas down to share with them. Not all of them were good, but it was a great way to learn how to think as a designer, and won me more responsibility there than I would have been given had I simply waited politely.

What qualities do you look for in a junior designer?

Beyond a great portfolio with really good typography, I look for people who are able to get interested in the subject matter of the projects they’re working on.

What’s the worst thing someone could do in a job interview with you?

Act bored. It happens more often than you’d expect. Some people must get the idea that it’s uncool to be enthusiastic about what they do.

Have any of your projects been a complete and utter failure?

Yes, I’ve been fired several times, some other times I resigned from projects because I just couldn’t solve them, and a few times I made it all the way to the finish line with something that the client liked but that I came to hate later. In almost every one of these cases I couldn’t find a way to get excited about the subject matter of the project, and it showed in the design work that I did. And in a few other cases it was the opposite. I got overly excited, worked too fast, and realized too late another, better way to do it.

I just read your article Five Years of 100 Days and was curious if you have a John Cheever-esque routine to balance inspiration and discipline.

There are two obsessive routines that I have. The first is related to design: the series of notebooks that I have. They are not really that interesting to look at compared with most designer notebooks I’ve seen, but they are a sense of continuity that goes back nearly thirty years for me.

The second thing is personal. Every night before I go to bed I methodically put out the clothes i’m going to wear to work and the stuff I run in — I run three miles every morning. The idea of having to pick out clothes would keep me in bed in the morning, so I give myself a head start by deciding everything the night before.

My final, and customary question: what percentage of your wardrobe is black?

I only have one black suit and one black sweater. That’s what makes dressing so complicated. I guess I don’t think I look very good in black!

Gx | Thursday 24 February 2011 | 7-9pm

Hillside Campus | Los Angeles Time Media Center

3×3: Transmedia Design: Communication Design Across Space, Time, and Behavior

Featuring Brad Bartlett, Dan Goods, and Aaron Koblin

Aaron Koblin, http://www.aaronkoblin.com

Dan Goods, http://directedplay.com/

Brad Bartlett, www.bradbartlettdesign.com

Event Description

Each term Art Center’s graphic design department brings together three design professionals to discuss a particular topic.

Featuring
Aaron Koblin is an artist specializing in data visualization. His work has been recognized by the National Science Foundation, and is part of the permanent collection of the Museum of Modern Art (MoMA) in New York. Aaron is Technology Lead of Goggle’s Creative Lab in San Francisco, and continues to show work at international exhibitions and galleries.

Dan Goods is a Visual Strategist at NASA’s Jet Propulsion Laboratory where he has drilled a hole into a grain of sand, created installations out of aerogel, and is currently trying to put an object on a spacecraft going to Jupiter. In the evening he works on commissions such as eCloud.

Brad Bartlett earned his Masters Degree in Design from Cranbrook Academy of Art. His work at Cranbrook, exploring the relationship of media and culture, was presented at MIT and Fabrica of Benetton in Italy. He was selected as New Visual Artist by Print Magazine before establishing a small, multidisciplinary design studio in Los Angeles in 1999. In Art Center’s Graphic Design (Gx) program he teaches the wildly successful Typography 4: Transmedia studio.

Lecture Recap:

Brad Bartlett

At Art Center, Bartlett teaches Type 4: Transmedia, a class that delves into the visual space of typography across multiple platforms. This is not only his educational passion, it is his professional passion as well. During his lecture, he spoke to a recent rebranding project that he did for the Nevada Museum of Art in Reno, Nevada. Bartlett spent over a year working with the museum to understand its influence amongst the art community, its cultural influence, and its visual relationship to its surroundings. He aimed to create a strong visual language that referenced the local surroundings and looks to the future of technology. When creating the logo for the museum he asked himself many questions: does it have to be a fixed mark? Can it act as a gallery space? Can it respond to the local climate and temperature? The solo “N” represents the Nevada Museum of Art as a whole and references the neon signs of the local casinos of Reno, Nevada, and the angle of the mountainous landscape surrounding the museum. Te visual language of the “N” is constantly changing as it interacts and reflects through color the ambient temperature outside the museum. The project as a whole visually and dynamically referenced the surrounding history and current climate while technologically looking towards the future of transmedia design.

Dan Goods

A graduate from Art Center College of Design in 2002, he travelled shortly down the road to NASA’s Jet Propulsion Lab (JPL), where he created his own job as Chief Visual Strategist. Working with the most groundbreaking advances in science and technology, he finds ways to visually communicate the advancements of his colleagues at JPL. Outside of JPL, he recently worked on a project at the San Jose airport in association with Nik Hafermaas, an educator at Art Center College of Design and founder of UeBERSEE , and Aaron Koblin who is the leader of the Data Arts Team in Google’s Creative Labs. The project, entitled eCloud, is a visual representation of climate and weather throughout the world using lcd screens in the form of a cloud to represent data visually.

Aaron Koblin

An MFA graduate from the DesignMedia Arts program at UCLA, Aaron was the Abramowitz Artist in Residence at MIT, and currently leads the Data Arts Team at Google’s Creative Lab. Aaron works to visualize large amounts of data, finding unique ways for users to understand, connect, and become the data. An interesting idea was presented that, “The 19^th century was defined by the novel, the 20^th by cinema, the culture of the 21^st century will be defined by the interface.” Working with the common interface of the computer to disseminate and gather information, Koblin spoke to his work of interpreting and visually communication the data of SMS traffic in Amsterdam and the visual chaos of air traffic throughout the United States. His most recent work revolves around the wisdom of crowds and the idea of dynamically crowd sourcing ideas, projects, and even part of projects to create unique results. See Ten Thousand Cents , The Johnny Cash Project , and The Wilderness Downtown for examples of his work.

Q/A Session with Brad Bartlett, Dan Goods, Aaron Koblin, and Nik Hafermaas

These are summaries to the answers provided during the Q/A session.

Do you have any advice to designers who want to achieve without the feeling of intimidation?

Aaron: Collaboration and access to others

Brad: It’s ok to fail. I learn more from failing than I do from what succeeds.

Nik: the current technology is way too good to leave to others. Take irreverance from ignorance, and flip the notions of what technology can do upside down.

Define Transmedia.

Brad: It is best to break it into parts. Typography is changing. We must look to the future. One type of media can inform another. Anticipating change, and willingly forging into territory that has not been designed.

Advice for future Transmedia designers?

Nik: Learn Type. There is an untapped potential at Art Center, a potential for collaboration between majors.

Brad: Have a good idea. Experiment.

Aaron: Misuse technology, and get your hands dirty.

If you could design your own job, what would your perfect job be?

Aaron: I love working with the Data Arts Team at Google. I like working with chrome experiments, redefining technology and fusing the fields of our live in unique ways.

Brad: Teaching. Sharing the design space with students. Right here right now.

Nik: I have my ideal job. Seeing the future through students. It is gratifying and terrifying. I love to see it when people blow the walls off and idea.

What have you seen recently that inspires you?

Aaron: Too much. Crowd sourcing people drawing a line. The use of Processing by Casey Reas at UCLA.

Brad: Processing is an amazing tool. “Its like drawing with a pencil on an algorithmic steroid.”

Dan: Scientists. Viewing lens flares of galaxies.

Nik: My standard time screensaver. It is the act of building time as a re-appropriation of technology.

Where do you get your raw data?

Aaron: There is a lot of public data available. Most times, someone high up just makes it happen.

What technologies on the edge inspire you?

Aaron: WebGl. Its like cramming a PS3 into your web browser.

Nik: Augmented Reality.

What is your overall design philosophy?

Aaron: We are on the crux of no longer delivering static content

Nik: technology is developing regardless. Conquering new technology. Brining emotional relevance. Humanity and human expression.

Dan: Process by doing. Thinking beyond myself.

Brad: Finding meaning in the work you do. Take risks. Enjoy the process. You are defined by the people you choose to work with. You have to follow your passion. It has to get you excited.

Speak to a failure that has brought you to where you are today?

Aaron: My of my work was considered a failure. I failed calculus, and that is why I came to realize computer science is not for me. Many of my failures have turned into projects.

Brad: I am a culmination of many failures. I have a lot of self doubt. A project may appear to be successful but is a failure in my mind. The self doubt only compels me to work harder. Failure is important, it drives creatives to innovate.

Dan: I knew I did not want a normal graphic design job. I was nearly about to run out of money when I received my first paycheck from JPL for the job that I created. I can’t guarantee that will work for everyone. I live every day as if it were my last.

Nik: Learning tennis. My work on the Frankfurt Motor Show for Mercedes Benz. I gave a year of my life to it, and it completely failed;  they wanted to fire me but they couldn’t. It led me to ask myself “how much to I want to be a whore?” I want to work with cultural experiences. I’ll let others fail.

Closing Remarks

Look around the room, you will see your future collaborators. Tonight was about opportunities and collaboration.

Check back soon for a video of the 3×3: Transmedia lecture.

Jeri Heiden still works with many of the friends she met back in her Art Center student days, “Photographers like George Holz, Just Loomis, and Victoria Pearson.” As for remembering her instructors… well, not so much. She also mentions the school’s “terrific mentoring program.”

Read my full interview with Jeri, and see more of her music graphics, here.

A very interesting article written by Steve McCallion from Ziba Design. For those who have not been following the debate, this will  inspire you to really think about design and the context it plays in todays and future communications design thinking that is taking place.

http://www.fastcodesign.com/1662542/the-real-lesson-of-the-gap-debacle-logos-arent-key-anymore

I suggest if you have time, read this article from IDEO. Who knows, it just may help you in the future—or now. It is a quick read that will give you insight:

IDEO: Good Stories Make Good Brands.
Here’s 4 Tips and 7 Examples

People trade experiences and ideals through narrative; brands can (and should) be part of the exchange.

Every product needs a story, as does every brand. The product’s origin. The creators’ ideals. Or a unique experience. These stories provide value. Consumers are looking to share narratives as a way to express their knowledge, identity, status, and connections. As the DNA of viral marketing, these stories help people connect more deeply with a brand, a product, and others around them.

Take Action: Designing for Life’s Changes

1. Share what you care about
How might design authentically express values to attract like-minded consumers?

2. Empower people to make it their own
How might we encourage consumers to participate by telling their own stories?

3. Localize
How might we speak to community to provide deeper meaning and connection in an increasingly commoditized world?

4. Be discriminating
How might we identify the key aspects of design that connect to the story’s focus?

The Evidence: Stories from Around the Globe

Shoes Make the Man
A self-proclaimed sneaker geek, Carl has over 500 pairs in his collection. His current favorite? A pair of laser-etched Nikes he picked up in Japan. The detailing is subtle, but to those in the know, they have enormous value. The specialty stores he visits on his travels, like Alife in New York or Kicks in Los Angeles, fly a bit below the radar. Knowing about them is all about making the right connections. To garner sneaker cred, Carl participates in online communities, sharing his knowledge and proclaiming his status through his collection.

Bragging Rights on a Global Scale
A lot of people travel to Costa Rica to take surf lessons. But only a handful can learn from an internationally renowned pro during a weeklong, invite-only surf camp.

Lee, a 36-year-old investment banker from Manhattan, works hard to attract opportunities like this. She and her banking industry friends are adrenaline junkies, always on the hunt for the next exceptional experience. Whether it’s indulging in local treatments at an exclusive $1200 per night spa in Thailand or bypassing the months-long waitlist at a trendy restaurant in Vegas, Lee gathers experiences to increase her social and professional profile.

Working in a typically male-dominated industry, she may not always get invited to go bear hunting with the guys in Alaska. But she can still impress the firm’s partners with her access to exclusive resorts in remote parts of the globe.

Discerning Chickens Cause a Stir
In Andhra Pradesh, India, a region where clean water is scarce, one humble local farmer’s chickens are better off than most people. Searching for a way to differentiate his product, he took a big risk by starting to give his chickens purified water to drink. Soon after the switch, the farmer’s chickens started growing faster, suffered less disease and produced more eggs. Overall, they were much healthier than the neighboring villagers’ chickens being fed water from the local well.

News about these high-quality chickens spread rapidly through the local community. Not only did the entrepreneurial farmer’s sales shoot up, but sales of purified water went through the roof.

Red Cross
With IDEO’s help, the Red Cross not only has a redesigned mobile center, they have a deeper connection with their donors. The key to altering the overall experience was to switch the focus from the recipients to the donors. Each donor now writes a postcard with their own personal story about why they were motivated to donate blood. These postcards are then posted on the wall at the center for others to read and be inspired by.

The Perfect Ingredient for Self-Expression
Lori’s cupboards overflow with obscure artisan food products. She spends a great deal of time scouring the Internet and boutique stores, focusing on details about ingredients and the artisans themselves. To deepen her knowledge, she also subscribes to online newsletters and attends food conferences.

30 and single, Lori isn’t that engaged with her career, so she has a lot of time and money to spend on food. And her friends reap the benefits. “All summer long, I entertain on the front porch,” she
says. “My friends tell me I’m in the wrong line of work.”

Shun Knives
The shimmering pattern of a Shun knife’s layered steel blade is a distinctive visual clue that can elicit pangs of jealousy at a dinner party. This “Damascus look” tells a more evocative brand story about Japanese heritage and craft than anything Shun could ever express focusing on SUS410 High Carbon Stainless Steel or VG10 core.

Tesco
Tesco is a company that emphasizes locally-grown food as a link to safety. From health challenges like Mad Cow to environmental impacts due to importing, Tesco encourages regional sourcing whenever possible. And by finding local products across the UK and Ireland, they can connect not only with consumers’ sense of security, but also their national pride.

Be a Pattern Spotter

Now that you’ve been exposed to a few different examples, don’t be surprised if you start seeing Life’s Changes patterns all around. Keep your eyes open and let us know what you find, especially if it’s the next new pattern.

PATTERNS are a collection of shared thoughts, insights, and observations gathered by IDEO through their work and the world around them. Read more pieces from the series here.

In case you missed this in fast company and business week, this is a good article to read regarding Dave Butlers’s work for Coke. Must Read. Enjoy!  http://www.fastcompany.com/design/2009/featured-story-david-butler and http://www.businessweek.com/innovate/content/aug2008/id20080825_105720.htm

A before and after look at S.C. Johnson & Son's Glade logotype.

Glade's logo-happy line of products.

As the air care market is estimated to grow to an annual $7.2 billion by 2010, brands like Glade have revamped their appearance to present a new face to the ever-growing industry.

Glade’s “stylish new expression” includes a new, more liberated, script logotype and a cleaned up version of their old package design. The new packaging uses more white space to give the customer a breath of fresh air. I believe these are all understandable design choices.

What I don’t understand is why they decided to create a new image for a product that seems to be in every bathroom in North America. Could it be the threat of Proctor & Gamble’s Febreze brand with $800 million in annual sales? Maybe.

During my research of the new logo, I encountered yet another, less prominent, Glade logotype!

Glade’s Fabric & Air sprays (their Febreze rip-off, see above) have their own edgy upper and lowercase typeface design. So another question is raised: When will Glade make up it’s mind and focus on one consistent image? All three of the products above are currently available for purchase.

The new logotype for Glade has had the uppercase “G” swapped out for a lowercase “g”, which destroys the even baseline that made the original so powerful. Also, the lowercase letters have been disconnected, which is a little awkward for script type.

This redesign seems a little overstylized for a product that is so generic. The nice touch about the new layout is the increased legibility of the logotype. Glade’s previous logo was jammed up in the corner of the label, almost under the cap.

Overall: A clean, simplified new package design, with a weak, overstylized new logotype.