100 of the World's Best Graphic Designers Cee m enim || ayes)rd We are now at one of the most important turning points in the history of graphic design; the influence of art, film, and ‘music has never been stronger, and the advent of new com. ‘puter technologies hes catapulted graphic design into a Se eekitemicenk enki ‘edge graphic design, this book presents a sweeping look at eee eee ee ee epee er ree ee etd work and visions of 100 leading graphic designers, this unique guide documents the best of contamporary graphic design worldwide from Europe, America, Asia and Aus- ‘talia—and offers designers’ in-their-own-words prodictions ‘about the future of this fast-moving and omnipresent disci- line. Alphabetical designer entries also include examples of recent work as well as biographical and contact information, ‘making this not only an inspiring sourcebook, but also an Peers cee eee teen Die Avamgarde des Grafikdesigns rund um den Globus Seared acd erence co tee eens teey eee ee ea eee ees Pe eiieis Lnadedcc tee eet eat aaron Casas design in eine volig neue Dimension katapultiort. Der vor liegende Band biotst einen Uberblick Uber das naveste \Verpackungsdesign, die Gestaltung von Marken und Orien- tierungssystemen sowie Webdesign. Dieses einzigartige Ce ee ed ured Cee ee eon eer a ered \persiinliche Visionen der Designer Uber die Zukunft des Grafikdesigns. Die alphabetisch geortineten Designerprofile umfassen neben Beispielen der neuesten Arbeiten bio- ‘grafische Daten und Kontaktadrossen und machen die vvorliegende Publikation damit nicht nur zu einer unschitz- ee ee a Ea eres aren neces Graphismes d avant garde des quatre coins de la plandte Nous vivons actuellement un tournant crucial dans Thistoire Cr ection ae enna enn tenes ee ean ere te eee tion dans une toute nouvelle dimension. Couvrant une vaste ‘gamme de graphismes de pointe, ce livre offre un large panorama des tendances les plus innovatrices du jour, keeiekeued iat et Deca Femballage ou la valorisation de marques et Finfographie. Préseritant le travail et la vision de cent graphistes parmi les plus éminents, ce guide unique en son genre examine la Création graphique contemporaine en Europe, en Amérique, ere et ty [Oraphiste sur favenir de cette discipline omniprésente et Petia oda a emia ortire elphabétique inclut des exemples de leurs travaux les plus récents, des informations biographiques et leurs coor données, ce qui en fait non seulement une excollento source Ce eet ed eee eee ated DAL ia keel)Graphic Design for the 21st Century Grafikdesign im 21. Jahrhundert Le design graphique au 21° siécleGraphic Design for the PAKS Ta AN, Grafikdesign im 21. Jahrhundert Le design graphique au 21° siécle 100 of the World's Best Graphic Designers eC Roma Cima TASCHEN098-103 Le aT) ca Oe ad 116-121 iPr Pae 128-133 134-139 140-145 152-157 BLE lox) a [easy BP rLy arta) creeFellow Designers a elg Fold 7 Meee ill dtu) BUR Ale aa ceig ery rem sleet Beste Bim eres i) Pv Rell) earls (eMC cuted Ippei Gyoubu Hahn Smith Design Inc. ee Amateure ala) Nemes banal Angus Hyland Hideki Inaba Uae ltelen ty Uitte) Gila Kaplan Ceara Rela Ce] KM7494-499 bles 3) ie PeaVv - Ws ime \ NNW = ASN TUK As % \wh . NYey NG wo ARN wun, WS Ne A n> Nn EN () AYneducton “Entomng | ntrodvetion,Lest ry YOUNG BRITISH ARTISTS FROM THE SAATCHI COLLECTION SENSATION near)igh Fryer for Ono Feces Galery Ft Fala, 190, ‘more rarely, genuinely new formal inventiveness. Because of the over- \whelming bombardment of visual communications that we all expert ence on a daily basis, we have not only become more visually iterate and culturally savvy in the decioher- ing of the intentions that fio at the r00t of the codes, but also our senses have become increasingly jaded by the stylistic sameness of much mainstream, “strategic,” mar- keting-led communication. These days, for something to catch our attention for more than just a few seconds it has to be really thought- provoking or amusing. More than at any other time in the short but pro- lific history of graphic design, the current pressure on professional Practitioners to produce distinctively authentic work that conveys a mes: sage in a uniquely captivating way is {eater than ever. And that’s not all; graphic design just got bigger. The profession has broadened as the boundaries between creative discip lines have become increasingly blurred through the application of — and opportunities presented by ~ new democratising digital technoio- ges For the vast majority of designers in this survey the computer has be- come their primary tool, but given this, there is also a desire by many 10 break out of the constraining imi- tations imposed by off-the-shelf soft- ware programmes. The Intemnet and advanced computing power has delivered greater speed to graphic dosign practice, yet at the same time this technologically-driven acosler- ation has also increased the styistic ‘obsolescence of graphic design so- lubons — what appears cutting-edge ‘one year will soem old hat the next as new ways of making graphic de- sign provide novel possiblities of expression. Over the last decade graphic design has grown from a primarily static medium of encansu- lated messages (books, posters, display ads, etc.) to one that is in- creasingly about movement and ‘ply, and is open to interaction since the advent of screen-based so-called graphic user interfaces (GUI). This Enlcona rrodstion cam ta re, ae nacn® ae otton — ay Ein, %, oy ot eg 1s we "7 sep nog at Sour ae : eae ent Ser aren oo “a ~~ Po “rua cosine oy crm tee aa one mae Unsere Aufmerksamkeit entweder auf forsche, direkte Weise gefangen ‘oder sie umgarnen uns langsam, nach und nach, mit bidichen oder sprachlichen Doppeldeutigkeiten. in {der heute unaufhorich wachsenden Informations- und Bilderflut sind digjenigen am erfolgreichsten, die den Betrachter mit sinnvollen Inhal- ten, witzigen, geistreichen und/oder —was eher selten ist - wirklichen chercher & nous embobiner lonte- ment en créant une ambiguits visuelle ou des doubles sens. Dans Cet ocean diinformations et diimages en expansion constante, ceux qui arviennent le mieux & nous «accro Cher» sont ceux qui nous appatent avec un contenu intelligent, original, humorstique et/ou, plus rare, une \ertable inventivité dans ia forme. Du fait du bombardement incessantthis is ‘seem a new pt i eee ee centul : arts* Most ' maniested themselves in Oe I1907, for example, Peter Behrens (1868-1940) was appointed anistic adviser to the wellknown Geren menufecturer AEG, and subsequently became the first designer to intro- duce such a programme, Designers were, however, stil jacks-of-al- trades. One day they would be de- signing furniture and lighting, the next day textiles or ceramics, and because of this graphic design was seen as just another fied in which artists or archit yners could try their hand. The well-known logo of the Carisberg brewery for in- stance, was inttally devised by the Danish ceramicist and furniture ner Thorvald Bindesbell (1848— 3) in 1904. The emergence of this new dis- Gipline during the early years of the 20th century led to the founding of the American Institute of Graphic ‘Arts (AIGA) in New York in 1914 — the first organization to be specific. ally Set up for the promotion of what was then termed “graphic arts". It ‘was not until the First World War, however. that the importance of graphic design as a tool for propa- ‘ganda was firmly established, most Notably by Janes Montgomery Flagg (1877-1960), who created the famous “I Want You for US Army” recruiting poster showing Uncle ‘Sam (based on a setf-portratt). Fol lowing the war's end, the Art Direc- tors Club was founded in New York in 1920 so as to raise the status of advertising — a growing area of the Graphic arts that wes distrusted by the general public because of the false claims and visual excesses that had become associated with it The ‘Art Directors Club subsequently staged exhibitions and produced publications that showcased the Tost creative advertising work, and in so doing helped to establish a greater professionalism within graph- i¢ design practice. Reflecting the dis- ipline’s move away from the sub- jectivty of fine art to the objectivity of design, the American typogrepher Willa Addison Dwviggins (1880- 1956) reputedly first coed the term “graphic design” in 1922. ‘After the enormous upheavels of the First World War, many peopie put their faith in new technology and ‘seine Verflechtung mit anderen Disziplinen — bildende Kunst, Film, Miustration, Musik -, seine enge Beziehung zur nevesten Technik, seine Kompizenschaft mit der \Wwinschaftichen Globalisierung und dariiber, dass Grafiker heute vietfach der poetischen Vieldeutigkeit post- ‘modemer kulturellerInterpretationen den Vorzug vor der universellen, Kiamheit der Modeme geben. Im Bemihen um eine sinnvolle, be- yandete Aussage uber den ences wird, haben wir zunachst einmeal bei den ausgewehiten Vertretem des Fachs eine Reihe von gemeinsamen Zeelen und Themen identfzier: den ‘Winsch nach Aufhebung des fach- lichen Schubladendenkens, die vor- rangige Bedeutung von Inhalten, den Einfluss modemster Technologie auf die Arbeitsergebnisse, den Wunsch nach emotionalen Verbindungen und ‘nach Uberwindung der von der han- delsubichen Software gezogenen Grenzen, das Misstraven gogeniiber dem Kommerz, die zunehmends Menge, Komplexitat und Beschiew- nigung der Informationsflisse, die Notwendigkett der Vereinfachung tnd — last, but not least - die Nor- wendigkeit ethisch vertretbarer Entwarfe, Zum besseren Verstandnis der aktuellen Situation des Grafikdesigns muss man vielleicht zuerst einmal die Entwicklung dieses relativ jungen Berutszweigs zurickverfolgen. Der Zunehmend interdisziplinsre Charak- ter der Berufspraxis mag als neues Phanomen erscheinen, ist es aber ‘eigentlich nicht. Im spaten 19. Jahr- hundert hat sich die Kunst der ‘Gebrauchsgrafik* am deutichsten Jn groBen, im Jugendstil bzw. im Stl des Art nouveau entworfenen Wer- beplekaten ni = von denen. die Henn de Toulouse-Lautrec (1864-1901) fur Pariser Cabarets schul, bis zur Job-Zigerettenwerbung ‘yon Alphonse Mucha (1860-1939). Derartige skorimerzielle Kunstwerkex stammten heufig von ansonsten frei- schatfenden Kunstlem sowre Archi- tekten und kunsthandwerklichen Gestaitem und waren daher meist stark von den Entwicklungen in der bilkdenden und angewandten Kunst ihrer Zeit gopragt. Dor neue Boruf des Gebrauchsgrafikers war eng visible 8 trevers les grands placards ublictaires de style Art nouveau, des affiches de cabaret d'Henri d= Toulouse-Lautrec (1864-1901) aux publicités pour le papier & cigarette ‘«Job» d'Alphonse Mucha (1860- 1939). Cette forme d'art commorcial étant souvent confiée 3 des artistes et des architectes / designers, elle était, donc fortement infiuencée par les développements contemporains dans les beaincans et les arts appli- qués. Le nouveau métier de gra- phiste, lui, se limitait principalement 4 la création daffiches et de livres et était étroitement apparenté a la promotion de rimprimerie «d'art» de V/Arts & Crafts Movement britan- nique. A cette Epoque, méme avec impression mécanique. les résultats semblaient souvent impnimés a la main. Il fallt attondre le début du 20° siécle pour que les «arts gra- phiques» soient utilsés pour deve lopper des identiss ¢estreprses completes et intégrées. En 1907. architocte — designor Peter Behrons (1868-1940) fut nommé conseiller artistique de la célebre firme alle mande AEG, inaugurant un nouveau type de collaboration de ce genre. Aépoque, les créatours étaient luminaires, tant6t des tissus et des ‘céramiques, etc. De ce fart le gra- phisme n’étart considéré que comme tun domaine parmi tant d'autres dans lequel is pouvaient exercer leurs talents. Le célébre logo des bras- series Carlsberg, notamment. fut