History of Designers
Fred Woodard- His style can be described as expressive and eccentric. Woodard kept Rolling Stone fresh and relevant with every new spread that came out, which was almost 400 issues. “Woodward and his talented staff have set a new standard for
what editorial design can be, in what must be one of the longer hot
streaks in magazine design history. Surveying his work, one is
struck not just by its formal beauty and appropriateness, but by
the sheer virtuosity of its design responses.”
—Michael Bierut,
The New Edition of Design Exchange
Gail Anderson- She
appreciably contributed to the widespread eclectic typographic
fashion that prevailed throughout the 1990s but never fell into a
style trap. For much of her tenure at
Rolling Stone, working
with art director (and AIGA Medalist) Fred Woodward, she fine-tuned
her typographic expressionism in a cramped office filled floor to
ceiling with all kinds of stimulating scraps, devising quirky
letterforms out of traditional and untraditional materials, from
hot metal and wood type to twigs and bottle caps. From this
typographic wellspring came an ever-expanding vocabulary of signs
and symbols, methods and mannerisms that, in turn, influenced a
slew of designers who followed (and at times copied) her graphic
eccentricities.
Tibor Kalman- Kalman became founding editor-in-chief of the Benetton-sponsored Colors
magazine in 1990. In 1993, Kalman closed M&Co and moved to Rome, to
work exclusively on the magazine. Billed as 'a magazine about the rest
of the world', Colors focused on multiculturalism and global awareness.
This perspective was communicated through bold graphic design,
typography, and juxtaposition of photographs and doctored images,
including a series in which highly recognizable figures such as the Pope
and Queen Elizabeth were depicted as racial minorities
Alexi Brodovitch- Alexey Brodovitch is remembered today as the art director of
Harper's Bazaar for nearly a quarter of a century. But the
volatile Russian emigré's influence was much broader and more
complex than his long tenure at a fashion magazine might suggest.
He played a crucial role in introducing into the United States a
radically simplified, “modern” graphic design style forged in
Europe in the 1920s from an amalgam of vanguard movements in art
and design. Through his teaching, he created a generation of
designers sympathetic to his belief in the primacy of visual
freshness and immediacy.
Neville Brody- As the Art Director of Fetish he began experimenting with the beginnings
of a new visual language that consisted of a mixture of visual and
architectural elements. Later he was able to put these ideas into
practice and to set new precedents through the innovative styling of The
Face magazine (1981-1986). It was his work on magazines that firmly
established his reputation as one of the world’s leading graphic
designers. In particular, his artistic contribution to The Face
completely revolutionised the way in which designers and readers
approach the medium. Though Brody rejected all commercialisation of his
graphic style, his unique designs soon became much-imitated models for
magazines, advertising and consumer-oriented graphics of the eighties.
David Carson- Typography spun into a whirling end-of-century gyre in the 1990s, and David Carson was at its center. The incendiary pages of
Ray Gun
magazine
inflamed the eyes and minds of countless young designers who sought
to tap into the freedoms unlocked by his bold new style. Carson shaped
everything in
his path for his own purposes, endlessly contorting type, layout and
grid into new configurations and abandoning design’s established truths
of order and
legibility. He represented a new breed of visual author.
