21 posts tagged “graphic design”
There’s still no rhyme or reason on when Vox allows me to access my blog here. This morning, I got in a private post, but clicking ‘Create’ again, nothing happened for the next hour.
I wanted to share this opening title from Bullitt, after posting another one from Pablo Ferro on my Tumblr blog. This remains my favourite Ferro design. Though set in Chicago, only the skyline scene was shot there; the rest was in San Francisco.
I see ’68 as a positive year for a lot of design there, while ’69 began to look garish, particularly in fashion and hairstyles.
Your feedback on the facelift is welcome: unlike Facebook, I want to hear from people and we’ve implemented many of the suggestions that we’ve been given.
You just have to admire some ad creatives. There are some ads that aren’t particularly relevant which come in through the networks, but this one on Lucire’s website is very entertaining:
Oh, and there is a new layout for Lucire online—we are rolling it out gradually to see what viewer feedback is like. Above is one of the new sectional contents’ pages (see here for the real thing), which you can compare to one of the old ones (here).
Here are some more neat finds on YouTube. I have only a vague recollection of this show, but I might be confusing with others that had fake computer messages going across the screen (The Invisible Man, The Gemini Man, The Incredible Hulk, The Six Million Dollar Man, The Bionic Woman, etc.). Apparently, it was originally entitled Probe, but was retitled Search (possibly due to a conflict with another TV series). It didn’t last, due to a producer change and the idea of a revolving star each week (mixing between Hugh O’Brian, Doug McClure and Tony Franciosa). But the theme music and titles are great (note the use of the MICR typeface) and very early 1970s. They also hint at the optimism people had toward technology as a tool to aid mankind, in this case, an agency specializing in searches.
I like Keeley Hawes’s new VO at the beginning of Ashes to Ashes but why replace Helvetica Black (which was around in 1982, even though the cut used last series was not) with Arial Black (which didn’t exist in 1982)?
What if Star Wars were made in the 1950s (and presumably in colour) and Saul Bass did the titles? A student worked on the following and I loved it.
PS.: I was totally wrong about the opening titles’ type, which is another problem with watching low-res YouTube videos. Custom job? Perhaps someone could enlighten me. But I certainly enjoyed the animated Os. End credits in Scala—not bad. Shame about the title cards announcing each location though. Some loved them but I was going, ‘Caslon is not Italian,’ ‘Futura is not Austrian,’ etc.
I can’t remember if I shared this one with y’all: a billboard from January 2008.
Yeah, that’s what I thought it said, too.
From June 2008, a billboard for a TV series, but I thought it was the real thing—that someone had gone missing. Have they not heard of the boy who cried wolf?
[Cross-posted] Just found out through Jeff Fisher: Lou Dorfsman, who can legitimately be called one of the heroes of American graphic design, passed away aged 90 on Wednesday.
Dorfsman grew up in the Bronx and wanted to attend NYU to study bacteriology, but the $300 tuition was too high. Instead, he took the examination for the Cooper Union for the Advancement of Science and Art and won a four-year scholarship, graduating with top honours.
He met his wife, Ann Hysa, and long-time collaborator and friend Herb Lubalin—another design legend—while at the Cooper Union. His career began designing exhibits for the 1939 World’s Fair in New York.
From 1943 to 1946, Dorfsman served in the US Army and won first and second prize in the National Army Arts’ Contest.
He joined the Columbia Broadcasting System in 1946 after leaving the army and worked with the network for 41 years. He began with CBS Radio, being promoted to art director in 1951, then became creative director of the TV network in 1960.
Dorfsman became director of design for CBS, Inc. in 1964, and vice-president and creative director of the CBS broadcast group in 1968. By 1978 his title was Senior Vice President and Creative Director for Marketing Communications and Design.
His love of design and type can be seen with what Dorfsman called the Gastrotypographicalassemblage, a 35 ft wide, 8 ft 6 in tall wall of wooden type that once graced the CBS cafeteria.
If you look through any book about American graphic design’s history, Dorfsman rightly earned his place.
At the Things to Look at blog, there are a few of Lou Dorfsman’s more famous works.
His effect on graphic design is profound and many of us of a certain age will have been inspired by Dorfsman’s work. I remember as a teenager looking through samples of his 1960s’ CBS work, including a fold-out brochure promoting advertising sales, and various programme ads.
To this day I probably unconsciously put some of these greats’ ideas into practice, and who better to learn from than guys like Lou Dorfsman, Herb Lubalin, Milton Glaser, Saul Bass, Paul Rand, Ed Benguiat and others of that world?
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