Designer Bio

Michael Bierut was born near Cleveland, Ohio in 1957.  In his suburban town, or in the entire state of Ohio for that matter, design was neither encouraged, nor given much attention.  In his town’s library, however, there happened to be two books that would appeal to his combined interests in drawing, music and fine art, they were Graphic Design Manual by Armin Hofmann and Milton Glaser: Graphic Design.  As graphic design was not his intentional fascination, Bierut found the application of his artistic skills and his partiality to music to be suited for album cover design.  The two found books in his town library, however, would lead him to pursue the study of what he had read at Cincinnati’s College of Design, Architecture, Art and Planning.  After an internship with Chris Pullman, another acclaimed designer, he would graduate and, in 1980, find himself working his first job.  Fortunately, or perhaps due to determination, Bierut got a job working for Massimo and Lella Vignelli in New York, which is quite the accomplishment for any respectable designer, not to mention one who is just getting his feet wet.  

He eventually grew to the Vignelli Vice President of Design, giving him a reputable status in the industry.  Working for such a modernist, corporate design firm, Bierut found that the process of designing company brochures was tiresome in that they are meant to be read, however not enticing enough to make someone want to read them. 

            In 1990, Bierut was made a partner by the Pentagram design firm due to the fact that he realizes this design issue: obvious communication can be done by anyone, but the professionalism that he brings is through his ability to make information noticeable and even enticing while containing the appropriate information.  He has been employed by everyone from Yale to Walt Disney, yet all have relied on his interpretation of conveying the companies message in a unique and sincere enough way that the corporation or University, for example, can be seen as much more than children’s movies or an Ivy League school filled with law students.  It’s this approach to professionalism and post-modern design that Bierut is known for; it’s what his clients expect, and what they will, indeed, receive.  He incorporates the professional attitude towards his work, although has a reputation for humor and wit, but there’s a sense of exploration and experimentation that works for him and his clients, as well as his fellow designers. 

            Aside from being a renowned graphic designer, Michael Bierut is involved in publication as well.  Known for his humorous and all around enjoyable opinion, he has co-edited the anthology series Looking Closer: Critical Writings on Graphic Design along with designing and co-editing the monograph, Tibor Kalman: Perverse Optimist.  He is the co-founder of the website dedicated to critical entries on design and just about every other essential topic that can be discussed in society today.  He does radio commentary on everyday design for the radio program “Studio 360,” and to top it all off, he has his own book entitled, Seventy-nine Short Essays on Design.

            For all this, his rewards are plentiful, however most notably; he won the AIGA Medal in 2006, which is considered the highest honor in the design profession.  This award speaks for itself. His intentions of “democracy” in the design world have proven to be fruitful, in that he executes wittingly the intentions of his client, and then some, giving something more to a corporate identity or poster for Yale’s architecture school.  Michael Bierut has a quality to the way he works, however this does not pertain to just the work alone.  His knowledge of everything, music, architecture, and culture makes him a sought-after member of the critical community, aside form the design industry.

Sources:

-       (http://www.pentagram.com/en/partners/michael-bierut.php).

-       (http://www.aiga.org/content.cfm/medalist-michaelbierut)

 written by Alissa Walker

Modernism and Movies

Both movies, "Playtime" and "Monterey Pop," were filmed relatively around the same year, '67 and '68 respectively.  That, however, may be the only thing they have in common.  "Playtime" is an obvious spoof, if you will, on modernism and its characteristic.  One will take notice of the gray color in just about everything, forms, in terms of automobiles and furniture are very basic and seemingly futuristic.  Also, the movie represents the neutrality of the modernist movement.  Although it takes place in France, there are several American characters in the movie and there is a minuscule amount of difference between them, say their accent, or the language they speak on screen.  Everything in the movie, visual aesthetic as well as aura is very proper, low in vibrancy and plays as close as it can to modern quality and appeal.  The movie itself, however, is quite different in purpose.  As it allows for nothing other than plain modernism, the plot, whatever that might have developed into, as well as the message of the film have a type of anti-modernist approach, taking the factors associated with modernism, basic elements and qualities associated with sheer performance rather than expression and color, and turning those qualities onto themselves, in turn, creating the most dry, and quasi-distopian, while at the same time being sheik and high-class, environment and screen play.  Quite different in just about every aspect, including purpose, is the Monterey Pop film.  Released in America around the same time as the French "Playtime," this movie incorporates elements from the opposite side of the 60's, or the antithesis of Modernism.  As mentioned, the purpose of this movie in terms of casting judgement, or the analyzation and portrayal of a certain culture, Monterey Pop takes a more serious role in depicting the hippie culture of the 60's.  There are no awkwardly funny characters, absurdly crafted settings, or blatant gibes at what the culture entails; essentially there is no farcical exaggeration of the movement's qualities.  But in terms of production, better yet, style and approach, "Monterey Pop" and "Playtime" have next to nothing in common with each other.  As the modernism in "Playtime" is heightened to the level of comedy, it would be more appropriate to compare Monterey Pop with something more of a result of modernism, not something about it.  The colors, however, are vivid and plentiful, the type in the introduction is all hand-written, as opposed to a modernist san-seriff font, even the music; Monterey Pop being actually about music, but the jazz band towards the end of Playtime is nothing like the music performed on Monterey.  Also, the diversity in Playtime is almost non-existent aside from language.  Everyone in the movie looks the same. They all seem to be around the same age, expect for two younger jocks, but in Monterey Pop the audience is witness to people of all different races, ranging from adolescence to elderly, not to mention, the way they are dressed.  As one can assume, a bunch of hippies coming together for multiple concerts and whatever else a hippie in the 1960's comes together for, will be dressed in a drastically different way than a movie made to exploit the quirks of modernism.  In Playtime you see everyone wearing a gray, brown, or black suit and coat, with little to stand out besides a hint of color from a light or a flower stand, however Monterey Pop portrays a more rebellious culture, one without business attire and a briefcase.  More over, the difference between the movies and their styles is present in almost every aspect of each one. Ravi Shankar wouldn't have been seen in Playtime, let alone a standing ovation for his performance.

Pascal

Pixel Perfect


- Dangin's ability is not merely his prowess regarding Photoshop, but in a way, his talent lies even more so within his eye, and the way he can interpret a photo.
- He does not only adjust the photo to be visually attractive, but translates its emotion and message.
- Most photos in magazines are reworked in Photoshop and Dangin is behind most of what we see as perfection in an image.
- Although a major part of the photography field, Dangin is like the unsung hero. He is rarely credited in the periodical but those who put the magazine together know of him as the most talented professional in terms of working with photographers and mixing his expertise with their perspective.
- Retouchers are often labeled as too interpretive or overdoing the subjectivity of photographs, however they are also given credit for reshaping beauty and defining social expectations of anatomy.
- This, however, can be done appropriately in Dangin's case.
- The software allowing people like Dangin to change photos in such a way that the photograph will look appealing but that does not mean the photographer is particularly good.

I find Pascal Dangin to be an artist rather than a professional retoucher.  It seems that he knows how to treat a photo in a way that compliments the photographer's vision and enlightens people's opinion of tasteful beauty.  It seems that there is a conflict in what he does, in terms of defining the social standards of beauty through fixing the imperfections that only a photograph could capture, but in the article, Pascal comments on this conflict by saying something like people don't want the movie starlet to look like an average person, the public and observers of magazine photography want what they picture to be a movie star; no zits or birthmarks, but radiant skin and perfect hair.  Like the article says, don't shoot the messenger.  In other words, if the photo needs retouching, someone needs to do it, and Dangin happens to be the most talented in a way that people can appreciate.

Digital

Museum Piece


- The introduction of computer design technologies has increased the field of design, allowing the discipline of graphic designer to reach new levels of visual communication.
- The combination of schooled graphic designer traits and designer programs prepares the grounds for new ways of creating visually stimulating work as well as easily conveying information at the same time.
- The poster done by Greiman is an example of a renowned graphic designer using the, at the time of the article, new tools in the digital format as well as her exercised talent in order to produce an award winning piece of design.
- Greiman's effective use of the Paintbox technology led the design field to believe that this new convenience was to become a significant, if not infinite, way of creating good design.
- The productivity of computer technologies as opposed to creating design by hand opens up the creator's field of possibility.  Essentially, when there is leeway for mistake and time to rearrange it without the hassle of doing so by hand, some mistakes can lead to very happy accidents.

Although the article was dated, and the "new" technology in the article is now the primary medium for graphic designers, the fact that the computer has not debased graphic design, or included any instance of work-shy tendencies in the field still remains true.  The computer, as the article implies, is much more than a luxury or an easy way to escape the old, process-based way of putting together a poster.  The design programs, now much more advanced and available (not $500 dollars per hour), have broadened the position of professional designer as well as approach to design.  At one's finger tips is a limitless expanse of tools in which to create good design.  The application of design technologies has created the amateur label for anyone with the programs, but in terms of professionalism, the computer has bestowed upon all who can use Illustrator or Photoshop the ability to create great design on the level of the professionals.  This of course leads critics, not just those of which who are published, but other designers to appreciate good design in a more conceptual manner, for the obstacle of craft has become obsolete.  I also enjoyed the step by step information the article included on Greiman's usage of the Paintbox program and her production process when actually putting the poster together.  I most enjoyed, however, the information regarding the printmaker's process.  It was exciting to hear that the poster was printed by lithography and how he used a process yellow and then a fluorescent with varnish to produce the desired effect on the poster. The combination of digitally designing the poster and then using printmaking techniques to reproduce it was intriguing and also satisfying to a student of both.

Art and Design

But, Is it Art?


- Fine artists determine their own set of goals and approach them in the visual manner they choose, while designers are given goals from a client and must convey them in an appropriate manner.
- Although, once an artist has his or her goal set, the process includes the same method of development that a designer will employ in order to establish the visual embodiment of the idea or goal.
- Designer's, however often have to restrain their visual outcome in terms of readability or blatant information, as conventional artists have no bounds and may choose to conceal as much of their point as they'd like.
- Therefore, a designer and an artist are not entirely different, only in terms of medium and the result of a purpose.

M/M Discussion


- Art, be it design or fine art, should be about a collaboration between the artist or designer and the audience, not only the finished painting or aesthetic. Therefore, fine artists as well as designers must work with the fact that the audience will be interpreting the work, whether it's an abstract painting or a poster for a conference.
- Designers should not be looked upon as butlers, in that they are simply used to make things look better. They are there for the purpose of invention and visual problem solving when portraying information visually.
- To designers, context is infinitely important, as it is to most artists as well, but the limits of what one can do with the given context can be radically expansive in artists terms while designers must remain contained in abstraction in order to fulfill the mission of design.
- The freedom that the artists have though, can be limited by preferences in the art world; by what the galleries will exhibit.
- Artists like Michelangelo were hired to design the ceiling of a chapel, but his creativity was not haltered, so designers are not entirely limited to adhere to clarity.
- "Perhaps all we can say with conviction is that some art is as bad as design and some design is as good as art."

Art's Little Brother


- Designers follow artists, in that art is incredibly more expensive as well as much more highly praised and exalted.
- However, designers are beginning to include the amount of self expression that artists have always relied on in the past. Therefore, the divide between artists and designers is shortening, and critics can now, sometimes, see design as art as well.
- Design must exist somewhere in a piece of artwork. For example, even Pollock had to somehow decide where to drip his paint.
- A designer works for a client, meaning his or her conceptual goal is derived from an outside, often business oriented, source. An artist works for his or her self, with a personal concept and self-influenced motive.
- New digital tools have allowed designers to venture beyond simply information handling and identity, therefore the self expression not usually present can now be employed.
- Design critics, or designers themselves, have often disliked these types of design work, although it may complete the requirements of the client.
- Design, as opposed to art, relies on visual aesthetic and what can be considered good in those terms, however fine art does not pertain to such perimeters.
- The struggle with new, expressive and different design is not trying to debase fine art, but merely to raise awareness of design as an artform, designers as artists themselves, and its positive influence on the culture.


The theme of art and design is obvious in these three readings, but more specifically, there is a process motif in all three as well. All three articles state mention the difference between designers recieving a foreign concept, while artists work towards their own personal goal, but it is clear in the readings that they can relate in that the two work in terms of chasing a visual representation of the goal. In the M/M discussion there is mention of a gallery exhibit of design work or the designers personal work, and also stated is that as the concept of visual determination towards a conceptual agenda is being recognized by critics to be a part of design as well as fine art. Also, that the digital medium allows the designer to skip the tedious method of type setting, for example, therefore allowing more room for visual self expression and aesthetic freedom. So designers have assumed their signature style, inviting critics to recognizes a visual signature that has forever been a thread through fine artists and their work. But once again, the point with these articles was not to undermine fine art, and to establish design as a superior art form due to its universal significance, but rather to affirm that designers deserve praise in a way that artists do. Proof of that statement lies in stating that a piece of furniture, essentially a form of design, can be sold now for relatively the same price as a renowned painting or sculpture. In so many words, design can now be appreciated as art due to the realization of a designers individuality in his or her method as solving a conceptual or informational problem visually, the same way artists have done for many years, only sometimes without concepts of their own.

Vernacular Design

We're Here to be Bad


- Designers should be bad, not in visual style, but in terms of client cooperation.
- Design is required to distinguish the brand, rather than the actual quality of the product at hand.
- With big-time companies now competing globally, marketing has led design to "sell out," rather than improve the product to viewer relationship.
- Appropriate design, in terms of creating what is most promotable rather than supplying tasteful craftsmanship, is minimizing the boundaries of the design field.
- With design that may be considered risky, the grounds for good design can be reinvented when still compromising with a client.

Professionalism, Amateurism, and the Boundaries of Design


- The details of professionalism versus amateurism are only distinct in terms of their given learning instead of the work produced or talent exhibited.
- The DIY designer, as opposed to the employed professional, is able to cross boundaries and break rules, which may lead to innovative and praised work, whereas the professional is limited to the client's standards and desires.
- The popularity and implication of digital design programs broadened the field for design practitioners, and therefore, expanded the worth of credibility and exaltation.
- Vernacular design, or universal design, has some notable examples while, due to its high-spread tendencies, bad examples exist as well, if not more often.
- Design done locally, expressing the values and emotions of those who would be considered users, had special qualities that would be labeled with greatness, whereas the uniform corporate design included less of the instinctive qualities and more of the unfriendly, formal ones.

These two articles seemed to express the same notion of great design through non-conformity. Although written with different discipline and lengthiness, they have the same rebellious attitude that I believe to be necessary for the reinvention of standard impressiveness. We're here to be Bad expressed more of the "fuck the client" ideology, preaching a non-compromsing mentality in order to pursue great visual appeal as well as viewer supported content. Professionalism, Amateurism and Boundaries had more DIY promotion, however both focused on the ideals of being a professional, mentioning that being considered professional does not mean you are creating above average design, but in most cases lending more to what would be considered average even to the audience. I do believe, however that by being a professional and succumbing to the vernacular design is not bad, it is not what one does, but how one does things. Obviously, in graphic design, for instance, there is necessary content that one needs to include if working for a client, but when including the essential information to a viewer-intended graphic, there is room for divergence. There is place to stray politely, yet creatively enough that the image and text can be perceived as tasteful rather than redundant. There is an interesting connection between the supposed miraculous quality of a talented DIY-er and those who, as mentioned in "Bad," have portfolios that resemble their professors, and the professors who resemble their professors. It seems the instinctive intuition that had been commended in "Professionalism" will lead to the evolution of design, not the diligent student who finds safety in stopping at the boundaries.

Design and Sustainability

The Sincerest Form of Flattery


- Engineering and industry must take examples from nature's own methods of sustainability.
- Instead of recycling local resources and keeping a certain area stable, humans have the habit of traveling      to a new, energy rich place, therefore expending much of the planet's "lifeblood" over a greater area.
- Coevolutionary Loops are a necessary piece of the bio security problem and human's ability mistreat it.
- The Biomimicry is slowly taking affect, however in order to create a more supporting environment, many more engineers and designers have to realize it's potential.

A Question of Design


- The Industrial Revolution, as progressive as it was, had been poorly designed, or rather not designed at all, it's negative effects had taken place due to environmental unawareness.
- The Industrial Revolution led to the focusing of populations, and the regression in artisan skills.
- The Industrial Revolution also had caused more production and more affordable goods.
- The early industrialists and designers did not take notice of the grander aspect of the actions, therefore failing to provide the highest efficiency possible.
- The failure of these planners to do their jobs completely resulted in "intergenerational remote tyranny."

Speculative Prehistory of Humanity


- Once again, efficiency is not necessarily found in better forms of energy but it can be found in simple physics.
- "Selfishness is unnecessary and henceforth unrationalizable as mandated by survival.
- The greatest engineers of the world must retreat from using their minds for "weaponry" and divert to "livingry."
- Humans have some sort of grudge with technology, however only because they don't understand it as the reason they are able to survive on the planet.

     The third set of readings seemed to focus on design, not in terms of graphics or fashion, but instead, in terms of industrial planning and objective. The running theme in all three articles was, obviously, sustainability, but mostly, how humans have left sustainability out of the blueprints in order to chase profit or for chauvinistic purpose. It seems as the human race develops new technologies, or makes something bigger and better than that of anything previous to it, the engineers and industrial designers behind such great endeavors focus on moving ahead yet again. In "A Question of Design," McDonough and Braugnart state this failure to create sustainability in terms of architecture and engineering. They say that intergenerational remote tyranny, where industry designers and leaders the world over fail to create a proper method of production, which results in serious problems for future generations. For instance, if we had not attempted to clean up our current methods of energy usage, the environment for our succeeding generations would have been an atrocity to the Earth if the state we had received it in had not been bad enough. That is why the Biomimicry preached by Janine Benyus is extremely important and extremely intelligent. It seems, judging by her several examples in the interview, that nature's organisms have superb god-given methods of sustaining their quality of health and with all of the technology we have developed over the years, the cues we can take from mother nature's creations should be easily integrated into our own.