Next week @Issue is relaunching itself; not to become something entirely new, but to return to what we saw as our editorial mission back when we started in 1994. For the first 15 years of our existence, @Issue: Journal of Business and Design was solely a print publication dedicated to demonstrating how good design is a major factor in establishing brand distinction, product desirability, customer loyalty, and ultimately business success. We featured in-depth case studies on brands that used design skillfully, and positioned ourselves as a bridge between business and design. At our peak, @Issue enjoyed a circulation nearing 100,000, with an avid following of designers, mar-com managers, corporate executives, printers and the like.
Then in 2008, the financial market collapsed, and with it our funding. To preserve the equity of our brand, we decided to publish online, which we have been doing ever since. This relaunch of @Issue online is intended to reintegrate some of the content that we had in print. We aren’t giving up the features we learned to love online, but we do plan to introduce stories that are more educational in tone to become a resource for creative inspiration and a platform for the best in design. Please stay tuned.
We recently lost one of the giants of our profession, Massimo Vignelli. An internationally acclaimed modernist, Massimo left a strong mark on our collective culture. Having had the privilege to know him personally, I also came to appreciate him as a warm, personal and extremely generous individual. Massimo was highly principled, joyous, robust, and thoughtful, but above all, he was a man of great passion who lived deeply. I saw this last year when I asked Massimo, along with 14 other designers, to describe how he sees San Francisco for a promotional project. I expected remarks about cable cars, steep hills, great restaurants, the Golden Gate Bridge,etc. Massimo’s response was lyrical, elegant, insightful and heartfelt – like the man himself. I held onto his description to remind myself that at the heart of visual arts is a poetic soul. Here is Massimo’s impression of San Francisco:
“Summer temperature, suddenly a chilling wind, a drastic drop in temperature and awesome clouds billowing over the hill toward me. A preview of the end of the world. A city inside a cloud. Would I survive? Is it real? The rampant clouds are rolling one over the other, gradually absorbing the city, vanishing it around me.”
Massimo, we will miss you.
The words “typeface” and “character” are fitting terms to describe fonts. When listening to good designers talk about them, you would think they were gossiping about people. They talk about their emotional qualities, complain about what they perceive as their flaws, get blushingly specific about their physical beauty. For them, some typefaces are casual flings, good for a quickie when the mood strikes and the lighting is right; with others, they are in love and ready to commit for life. For many designers, a studying letterforms is more engaging than reading what the collected letters have to say.
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Some of you know that seven years ago I wrote a book called “The Art of Gaman: Arts and Crafts from the Japanese American Internment Camps, 1942-1946,” published by Ten Speed Press/Random House. As usual, it was designed by Kit Hinrichs (Kit’s origami flag assemblage below) and photographed by Terry Heffernan. After more than 30 years as a corporate writer, I suddenly found myself propelled in another direction and immersed in a subject that I largely avoided my entire life. Although I had no thought that it would make a good art exhibition, I began receiving requests from museums across the U.S. and the array of objects made from scrap and found materials by people imprisoned in the camps were exhibited in some of the nation’s most prestigious institutions, including the Smithsonian American Art Museum’s Renwick Gallery in Washington D.C. and the International Folk Art Museum of Santa Fe. Today it opens at the University Art Museum (Geidai) in Tokyo to kick off a one-year tour of Japanese cities. If you are in Japan, I hope you’ll take the time to see it. I’ll be back in my San Francisco office next week with more new posts. — Delphine
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In the U.S., July 4th is a national holiday commemorating the day in 1776 when the tiny 13 American colonies declared their independence from Great Britain, instigating a revolutionary war that lasted eight long years. From a graphic standpoint, the American flag is unique because change is built into it. Each time a state joined the Union, it got its own star on the flag. The 50th and most recent star was added in 1959 when Hawaii won statehood. The flag’s appearance has remained constant since then. This video, produced by Kit Hinrichs, presents a chronology of when states entered the Union, how that changed the look of the flag, and which Presidents served under each version of the flag. Yes, we did run this video last Fourth of July, but we thought the John Philip Sousa’s tune “Stars and Stripes Forever” would be an invigorating way to celebrate the holiday. By the way, Sousa who was born in Washington D.C. is a classic American “melting pot” story. His father was born in Spain of Portuguese parents and his mother was born in Bavaria. Happy Fourth, enjoy the hot dogs and watermelon but don’t light fireworks if you live in a fire zone.