Interview with designer Michael Bierut. “The best thing design can do for a company is to express that company’s personality accurately and compellingly, and in so doing permit that organizations inherent strengths to prevail.”
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Business Week holds a competition to design their new design magazine and Michael Bierut says to hell with this kind of spec work. I love Andy Rutledge’s analogy.
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Designer Michael Bierut confesses: “I am a plagiarist”. “…my mind is stuffed full of graphic design, graphic design done by other people. How can I be sure that any idea that comes out of that same mind is absolutely my own?”
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Slideshow of graphics submitted for New York magazine’s High Priority feature, the production of which Michael Bierut says “is as close as the graphic design world gets to an Olympic event”.
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Michael Bierut: “the great thing about graphic design is that it is almost always about something else”.
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Michael Bierut on the “slow design” of the New Yorker. “In contrast, one senses that each of the changes in The New Yorker was arrived at almost grudgingly. Designers are used to lecturing timid clients that change requires bravery. But after a certain point — 80 years? — not changing begins to seem like the bravest thing of all.”
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Michael Bierut offers a requiem for the AT&T logo by Saul Bass. SBC is buying AT&T, keeping the name, but introducing a new logo.
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Here’s a sampling of the rest of the AIGA Design Conference, stuff that I haven’t covered yet and didn’t belong in a post of it’s own:
- Juan Enriquez gave what was probably my favorite talk about what’s going on in the world of genetics right now. I’ve heard him give a variation of this talk before (at PopTech, I think). He started off talking about coding systems and how when they get more efficient (in the way that the Romance languages are more efficient than Chinese languages), the more powerful they become in human hands. Binary is very powerful because you can encode text, images, video, etc. using just two symbols, 1 and 0. Segue to DNA, a four symbol language to make living organisms…obviously quite powerful in human hands.
- Enriquez: All life is imperfectly transmitted code. That’s what evolution is, and without the imperfections, there would be no life. The little differences over long periods of time are what’s important.
- Enriquez again: The mosquito is a flying hypodermic needle. That’s how it delivers malaria to humans. We could use that same capability for vaccinating cows against disease.
- Along with his list of 20 courses he didn’t take in design school, Michael Bierut offered some advice to young designers:
1. Design is the easy part.
2. Learn from your clients, bosses, collaborators, and colleagues.
3. Content is king.
4. Read. Read. Read.
5. Think first, then design.
6. Never forget how lucky you are. Enjoy yourself.
- Nicholas Negroponte: If programmers got paid to remove code from sofware instead of writing new code, software would be a whole lot better.
- Negroponte also shared a story about outfitting the kids in a school in Cambodia with laptops; the kids’ first English word was “Google”, and from what Negroponte said, that was followed closely by “Skype”. He also said the children’s parents loved the laptops because at night, it was the brightest light in the house.
- Christi recorded Milton Glaser’s mother’s spaghetti recipe. “Cook until basically all of the water is evaporated. Mix in bottle of ketchup; HEINZ ketchup.”
- Ben Karlin and Paula Scher on the challenges of making America, The Book: Books are more daunting than doing TV because print allows for a much greater density of jokes. In trying to shoot the cover image, they found that bald eagles cannot be used live for marketing or advertising purposes. The solution? A golden eagle and Photoshop. And for a spread depicting all the Supreme Court Justices in the buff, they struggled — even with the Web — to find nude photos of older people until they found a Vermont nudist colony willing to send them photos because they were big fans of The Daily Show.
- Bill Strickland blew the doors off the conference with his account of the work he’s doing in “curing cancer” — his term for revitalizing violent and crime-ridden neighborhoods — in Pittsburgh. I can’t do justice to his talk, so two short anecdotes. Strickland said he realized that “poor people never have a nice day” so when he built his buildings in these poor black neighbohoods, he put nice fountains out front so that people coming into the building know that they’re entering a space where it’s possible to have a good day. Another time, a bigwig of some sort was visiting the center and asked Strickland about the flowers he saw everywhere. Flowers in the hood? How’d these get here? Strickland told him “you don’t need a task force or study group to buy flowers” and that he’d just got in his car, bought some flowers, brought them back, and set them around the place. His point in all this was creating a place where people feel less dissimilar to each other…black, white, rich, poor, everybody has a right to flowers and an education and to be treated with respect and to have a nice day. You start treating people like that, and surprise!, they thrive. Strickland’s inner city programs have produced Fulbright Scholars, Pulitzer Prize winners, and tons of college graduates.
- I caught 30 minutes of David Peters’ presentation of Typecast: The Art of the Typographic Film Title and realized I should have gotten there in time to see the whole thing. I could sit and watch cool movie titles all day long. Among the titles he showed were Bullit, Panic Room, Dr. Strangelove, Barbarella, The Island of Dr. Moreau, and Superman. The title sequence for Napoleon Dynamite (which was discussed on Design Observer last year) was shown later in the main hall.
- At the closing party at the Museum of Science, we checked out the cool Mathematica exhibit that was designed by Charles and Ray Eames, two designers who were also pretty big science/math nerds.
- And some final thoughts from others at the conference. Peter Merholz says that “form-makers”, which make up the vast majority of the AIGA audience, “are being passed by those who are attempting to use design to serve more strategic ends”. (That’s an interesting thought…) A pair of reviews from Speak Up: Bryony was a bit disappointed with the opening Design Gala but left, like everyone else, in love with emcee John Hockenberry while Armin noted that the preservation of digital files is a big concern for museums in building a collection of graphic design pieces…in 35 years, how are you going load that Quark file or run that Flash movie?
For more of what people are saying about the conference, check out IceRocket. There’s a bunch of photos on Flickr as well.
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UnBeige blogged the blog panel that I participated on with Michael Bierut, Jen Bekman, Armin Vit, and Steven Heller. More here and here.
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As part of the conference within a conference for students, Michael Bierut listed 20 courses he did not take in design school (I think I got all of them):
Semiotics
Contemporary Performance Art
Traffic Engineering
The Changing Global Financial Marketplace
Urban planning
Sex Education
Early Childhood Development
Economics of Commerical Aviation
Biography as History
Introduction to Horticulture
Sports Marketing in Modern Media
Modern Architecture
The 1960s: Culture and Conflict
20th Century American Theater
Philanthropy and Social Progress
Fashion Merchandising
Studies in Popular Culture
Building Systems Engineering
Geopolitics, Military Conflict, and the Cultural Divide
Political Science: Electoral Politics and the Crisis of Democracy
His point was that design is just one part of the job. In order to do great work, you need to know what your client does. How do you design for new moms if you don’t know anything about raising children? Not very well, that’s how. When I was a designer, my approach was to treat the client’s knowledge of their business as my biggest asset…the more I could get them to tell me about what their product or service did and the people it served (and then talk to those people, etc.), the better it was for the finished product. Clients who didn’t have time to talk, weren’t genuinely engaged in their company’s business, or who I couldn’t get to open up usually didn’t get my best work.
Bierut’s other main point is, wow, look at all this cool stuff you get to learn about as a designer. If you’re a curious person, you could do worse than to choose design as a profession.
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