revistagrid !

GR Alejandro Meidna [email protected]ño Grafico y Diagramacion

Michael Bierut

DIMichael Bierut

4

Tabla de ContenidoBiografia..................................................................................................................................................1Obras Destacadas........................................................................................................................................2Galeria.......................................................................................................................................................................3Aportes...............................................................................................................................................................4AFICHES......................................................................................................................................................5OPINION..............................................................................................................................................6

5


6

Biografia

7

Michael Bierut nació en Cleveland, Ohio y estudió Diseño gráfico en la University of Cincinnati’s College of Design, Architecture, Art and Planning. Antes de entrar como socio en Pentagram en 1990, era vicepresidente de Diseño Gráfico en Vignelli Associates.En Pentagram, Michael es responsable de dirigir a un equipo de diseñadores gráficos que crean diseño de la identidad, diseño gráfico ambiental y soluciones de diseño editoriales. Ha ganado centenares de galardones por su trabajo en el campo del diseño yse halla en varias colecciones permanentes incluy-endo: the Museum of Modern Art (MoMA) , el Cooper-Hewitt, National Design Museum en New York; la Li-brary of Congress in Washington, DC; el San Francisco Museum of Modern Art (SFMOMA); el Denver Art Museum; el Museum für Kunst und Gewerbe in Hamburgo, Germany y the Museum für Gestaltung in Zürich, Suiza. Michael ha sido un miembro muy activo en el American Institute of Graphic Arts (AIGA), ejerciendo como presidente del New York Chap-ter entre 1988 y 1990 y como el presidente nacional de AIGA

de 1998 a 2001. Actualmente , es el director del Architectural League of New York y de New Yorkers for Parks. En 1989,Michael fue elegido para formar parte de la Alliance Graphique Internationale, y en 2003 fue introducido en el Art Directors Club Hall of Fame. Michael es crítico en diseños gráficos en la Yale School of Art y coeditor de la serie de antologías Looking Closer: Critical Writings on Graphic Design . Es cofundador del diario online Design Observer. Sus comentarios sobre diseño gráfico en la vida diaria se pueden escuchar a nivel nacio-nal en el programa “Studio 360.” de Public Radio International

Michael Bierut

8

Michael Bierut nació en Cleveland, Ohio y estudió Diseño gráfico en la University of Cincinnati’s College of De-sign, Architecture, Art and Planning. Antes de entrar como socio en Pentagram en 1990, era vicepresidente de Diseño Gráfico en Vignelli Associates.En Pentagram, Michael es responsable de dirigir a un equipo de diseñadores gráficos que crean diseño de la identidad, diseño gráfico ambiental y soluciones de diseño editoriales. Ha ganado centenares de galardones por su trabajo en el campo del diseño yse halla en varias colecciones permanentes incluyendo: the Museum of Modern Art (MoMA) , el Cooper-Hewitt, National Design Museum en New York; la Library of Congress in Washington, DC; el San Francisco Museum of Modern Art (SFMOMA); el Denver Art Museum; el Museum für Kunst und Gewerbe in Hamburgo, Germany y the Museum für Gestaltung in Zürich, Suiza. Michael ha sido un miembro muy activo en el American Institute of Graphic Arts (AIGA), ejerciendo como presidente del New York Chapter entre 1988 y 1990 y como el presidente nacional de AIGA

de 1998 a 2001. Actualmente , es el director del Architectural League of New York y de New Yorkers for Parks. En 1989,Michael fue elegido para formar parte de la Alliance Graphique Internationale, y en 2003 fue introducido en el Art Directors Club Hall of Fame. Michael es crítico en diseños gráficos en la Yale School of Art y coeditor de la serie de antologías Looking Closer: Critical Writings on Graphic Design . Es cofundador del diario online Design Observer. Sus comentarios sobre diseño gráfico en la vida diaria se pueden escuchar a nivel nacio-nal en el programa “Studio 360.” de Public Radio International

Michael Bierut

9

BIOGRAFIA

10

Obras Destacadas

With an introduction by Robert A.M Stern and Michael Bierut, co-published by Winterhouse Editions and Mo-hawk Papers, this book is an ingenious compilation of art, imagination, and a decade of a partnership and col-laboration between a client and designer.Forty Posters for the Yale School of Architecture is printed by Finley Brothers on Mohawk Superfine, Eggshell, Ultrawhite 100 text and 80 cover, with a single level registered emboss on the book’s cover. Proceeds from the sale of this book will support the AIGA Winterhouse Awards for Design Writing and Criticism. Purchase the book here.

11

Obras Destacadas

The Yale ‘Y”, a long established and respected graphic symbol was given a new lease of life, with its type-face always different, but it always appears in a circle, as evident on the single-level embossed book’s cover.

12

The Seduction symposium poster designed by Michael Bierut and Marian Bantjes for the Yale School of Archi-tecture is currently on view at the Cooper-Hewitt National Design Museum as part of its Rococo: The Continuing Curve 1730–2008 exhibition. The show examines the lasting impact of the Rococo period in design of the last four centuries; the poster, with the sinuous lines of Bantjes’ calligraphy, is one of twelve objects chosen to repre-sent the 2000s. The exhibition remains on view through 6 July 2008.Posters, Events, New York, Michael Bierut, Typography 04 / 16 / 2008 | Permalink

13

BOOK REVIEW In honor of Michael Bierut being conferred the AIGA Medal in 2006, the graphic design industry’s highest and most prestigious honor, Mohawk Papers wanted to take the initiative to celebrate his work and efforts on be-half of the design industry and AIGA. What more appropriate than the posters Bierut had designed for the Yale School of ArchitectureMichael Bierut’s posters for the Yale School of Architecture was commissioned by none other than Robert A.M Stern, the dean of the school. Under the direction of Stern, whose brief was; ‘I want to surprise people.’ Thus, Bierut set about to reinvent and re-brand the Yale School, but such that the brand neither triumphed over, nor substituted for content. A most interesting aspect throughout the series of the posters was that a typeface was never used twice, in op-posite to Willi Kunz’s precedence at Columbia University, Stern’s previous institution. However, it is executed in such a way that; in the words of Bierut, ‘the idea that diversity could represent its own form of consistency began to take hold.’

14

GR ID

GR DIAlejandro Meidna [email protected]ño Grafico y Diagramacion

Michael Bierut Michael Bierut

BIOGRAFIAMichael Bierut nació en Cleveland, Ohio y estudió Diseño gráfico en la University of Cincinnati’s College of Design, Architecture, Art and Planning. Antes de entrar como socio en Pentagram en 1990, era vicepresidente de Diseño Gráfico en Vignelli Associates.En Pentagram, Michael es responsable de dirigir a un equipo de diseñadores gráficos que crean diseño de la identidad, diseño gráfico ambiental y soluciones de diseño editoriales. Ha ganado centenares de galardones por su trabajo en el campo del diseño yse halla en varias colecciones permanentes incluyendo: the Museum of Modern Art (MoMA) , el Cooper-Hewitt, National Design Museum en New York; la Library of Congress in Washington, DC; el San Francisco Museum of Modern Art (SFMOMA); el Denver Art Museum; el Museum für Kunst und Gewerbe in Hamburgo, Germany y the Museum für Gestaltung in Zürich, Suiza. Mi-chael ha sido un miembro muy activo en el American Institute of Graphic Arts (AIGA), ejerciendo como presidente del New York Chapter entre 1988 y 1990 y como el presidente nacional de AIGA

de 1998 a 2001. Actualmente , es el director del Architectural League of New York y de New Yorkers for Parks. En 1989,Michael fue elegido para formar parte de la Alliance Graphique Internationale, y en 2003 fue introducido en el Art Directors Club Hall of Fame. Michael es crítico en diseños gráficos en la Yale School of Art y coeditor de la serie de antologías Looking Closer: Critical Writings on Graphic Design . Es cofundador del diario online Design Observer. Sus comentarios sobre diseño gráfico en la vida diaria se pueden escuchar a nivel nacional en el programa “Studio 360.” de Public Radio International

Michael Bierut Obras Destacadas

The Yale ‘Y”, a long established and respected graphic symbol was given a new lease of life, with its typeface always different, but it always appears in a circle, as evident on the single-level embossed book’s cover.

With an introduction by Robert A.M Stern and Michael Bierut, co-published by Winterhouse Editions and Mo-hawk Papers, this book is an ingenious compilation of art, imagination, and a decade of a partnership and collaboration between a client and designer.Forty Posters for the Yale School of Architecture is printed by Finley Brothers on Mohawk Superfine, Eggshell, Ultrawhite 100 text and 80 cover, with a single level registered emboss on the book’s cover. Proceeds from the sale of this book will support the AIGA Winterhouse Awards for Design Writing and Criti-cism. Purchase the book here.

Galerias

May 23rd, 2006Yale Graphic Design2006 Yale MFA Graphic DesignExhibition: May 17 - May 24, Opening May 20.Brilliant.Michael Bierut/Design Observer had this to say about it.

new work by Pentagram: Murals for The Library InitiativeMichael Bierut with a team of designers at Pentagram collaborate with other graphic designers, artists and architects to help beautify the elementary school libraries in New York City’s five boroughs. The expansive L!brary Initiative includes 5 newly built libraries in the Bronx, featuring murals by Rafael Esquer, Maira Kalman, Christoph Niemann, Stefan Sagmeister and Yuko Shimizu, and Charles Wilkin.I first read about this inspiring, fantastic, beautiful project in the New York Times last week in an article titled, A Is for Artwork That Lures Bronx Schoolchildren to New Libraries.

SAKS FIFTH AVENUE BRAND IDENTITYBranding / Brand Applications: Digital/Interactive Designer Michael BierutDesigner Jennifer KinonDesigner Kerrie PowellArt Director Michael BierutTypographer Joe FinocchiaroDesign Group Pentagram DesignAccount Handler Elizabeth Cory HolzmanBrand Manager Jan RichterBrand Director Terron SchaefferClient Saks Fifth Avenue

Friends, family, clients and colleagues gathered in New York’s Madison Square Park Tuesday night to celebrate the release of Michael Bierut’s new book, Seventy-Nine Short Essays on Design published by Princeton Architectural Press. Appropriate for the sultry summer evening, guests were served Shack-burgers, hot dogs and frozen custard from the park’s popular Shake Shack. Congratulations were heard all around for both Bierut’s accomplishment and Abbott Miller’s design in which each of the book’s 79 essays is formatted in a different font.

AFICHES

[Y lo cuentan mejor que yo:Jeremy Leslie: post sobre el New Ugly.Michael Bierut en Design Observer: How To Be UglyCreative Review: Super Super: Like Nothing and Everything] Guardado en: Portadas, Revistas, Tres es Tendencia

01. Call for Entries for the Architectural League of New York, 2002Michael Bierut has fessed up to the sin of faux science, and has submitted this item:.

02. Fast Company Magazine, January 2004An article on IBM’s brain talent being for sale, art directed by Dean Markadakis:

03. Miracle of Science Bar & Grill Menu at MITAt a bar near MIT in Boston called the Miracle of Science Bar & Grill, the menu is a Periodic Table done on a chauk board. Photos to be posted after my next beer there, unless any Boston-area readers familiar with this watering hole care to beat me to it!

Che Revolucionario. Convocatoria de AfichesFriday, September 21st, 2007Convocatoria Internacional de Afiches a 40 años de su asesinato.Pop

This one was Michael Bierut and our intern at the time, Ross Channing, going for a very stylized “L” icon that could also be read as an infinite symbol. More pretty colors, just muted.

We have, at this very moment, been paid a visit by our friendly neighborhood UPS delivery man, who came bear-ing gifts in the form of the yellow beauty you see above: Seventy-Nine Short Essays on Design by Michael Bierut. As far as we can tell, designer Abbott Miller set each of these 79 essays in a different typeface, so after you read the thing a whole other level of entertainment can be found by puzzling over why each one was chosen especially for that topic. We also were wondering how Bierut was going to handle including the hyperlinks from his adapted Design Observer essays, but there is a succinct little appendix in the back that includes background and links for each piece. It’s a nice touch.

And we absolutely love this news: The day the book is published, there will apparently be a party at the Shake Shack in Madison Square Park (just a hop, skip and a jump from Pentagram’s office, mind you). And get this: The Shack’s got a camera planted atop its delicious self so even those not in NYC can raise a Fluffer Nutter concrete along with the rest of the well-wishers. Stay tuned for details so you can tune in, too

15

GR ID


Michael Bierut nació en Cleveland, Ohio y estudió Diseño gráfico en la University of Cincin-nati’s College of Design, Architecture, Art and Planning. Antes de entrar como socio en Pentagram en 1990, era vicepresidente de Diseño Gráfico en Vignelli Associates.En Pentagram, Michael es responsable de dirigir a un equipo de diseñadores gráficos que crean diseño de la identidad, diseño gráfico ambiental y so-luciones de diseño editoriales. Ha ganado centenares de galardones por su trabajo en el campo del diseño yse halla en varias colecciones permanentes in-cluyendo: the Museum of Modern Art (MoMA) , el Cooper-Hewitt, National Design Museum en New York; la Library of Congress in Washington, DC; el San Francisco Museum of Modern Art (SFMOMA); el Denver Art Museum; el Museum für Kunst und Gewerbe in Hamburgo, Germany y the Museum für Gestaltung in Zürich, Suiza. Michael ha sido un miembro muy activo en el American Institute of

Michael Bierut nació en Cleveland, Ohio y estudió Diseño gráfico en la University of Cincinnati’s College of Design, Architecture, Art and Planning. Antes de entrar como socio en Pentagram en 1990, era vicepresidente de Diseño Gráfico en Vignelli Associates.En Pentagram, Michael es responsable de dirigir a un equipo de diseñadores gráficos que crean diseño de la identidad, diseño gráfico ambiental y soluciones de diseño editoriales. Ha ganado centenares de galardones por su trabajo en el campo del diseño yse halla en varias colecciones permanentes incluyendo: the Museum of Modern Art (MoMA) , el Cooper-Hewitt, National Design Museum en New York; la Library of Congress in Washington, DC; el San Francisco Museum of Modern Art (SFMOMA); el Denver Art Museum; el Museum für Kunst und Gew-erbe in Hamburgo, Germany y the Museum für Gestaltung in Zürich, Suiza. Michael ha sido un miembro

Graphic Arts (AIGA), ejerciendo como presidente del New York Chapter entre 1988 y 1990 y como el presidente na-cional de AIGA de 1998 a 2001. Actualmente , es el director del Architectural League of New York y de New Yorkers for Parks. En 1989,

Michael fue elegido para formar parte de la Alliance Graphique Internationale, y en 2003 fue introducido en el Art Directors Club Hall of Fame. Michael es crítico en diseños gráficos en la Yale School of Art y coeditor de la serie de antologías Looking Closer: Critical Writings on Graphic Design . Es cofundador del diario online Design Observer. Sus comentarios sobre diseño gráfico en la vida

muy activo en el American Institute of Graphic Arts (AIGA), ejerciendo como presidente del New York Chapter entre 1988 y 1990 y como el presidente nacional de AIGA de 1998 a 2001. Actualmente , es el director del Architectural League of New York y de New Yorkers for Parks. En 1989,Michael fue elegido para formar parte de la Alliance Graphique Internationale, y en 2003 fue introducido en el Art Directors Club Hall of Fame. Michael es crítico en diseños gráficos en

la Yale School of Art y coeditor de la serie de antologías Looking Closer: Critical Writings on Graphic Design . Es cofundador del diario online Design Observer. Sus comen-

tarios sobre diseño gráfico en la vida diaria

Michael Bierut

Michael Bierut

Biografia

Biografia

BIOGRAFIAMichael Bierut nació en Cleveland, Ohio y estudió Diseño gráfico en la University of Cincinnati’s College of Design, Architecture, Art and Planning. Antes de entrar como socio en Pentagram en 1990, era vicepresidente de Diseño Gráfico en Vignelli Associates.En Pentagram, Michael es responsable de dirigir a un equipo de diseñadores gráficos que crean diseño de la identidad, diseño gráfico ambiental y soluciones de diseño editoriales. Ha ganado centenares de galardones por su trabajo en el campo del diseño yse halla en varias colecciones permanentes incluyendo: the Museum of Modern Art (MoMA) , el Cooper-Hewitt, National Design Museum en New York; la Library of Congress in Washington, DC; el San Francisco Museum of Modern Art (SFMOMA); el Denver Art Museum; el Museum für Kunst und Gewerbe in Hamburgo, Germany y the Museum für Gestaltung in Zürich, Suiza. Mi-chael ha sido un miembro muy activo en el American Institute of Graphic Arts (AIGA), ejerciendo como presidente del New York Chapter entre 1988 y 1990 y como el presidente nacional de AIGA

de 1998 a 2001. Actualmente , es el director del Architectural League of New York y de New Yorkers for Parks. En 1989,Michael fue elegido para formar parte de la Alliance Graphique Internationale, y en 2003 fue introducido en el Art Directors Club Hall of Fame. Michael es crítico en diseños gráficos en la Yale School of Art y coeditor de la serie de antologías Looking Closer: Critical Writings on Graphic Design . Es cofundador del diario online Design Observer. Sus comentarios sobre diseño gráfico en la vida diaria se pueden escuchar a nivel nacional en el programa “Studio 360.” de Public Radio International

Michael Bierut

The Seduction symposium poster designed by Michael Bierut and Marian Bantjes for the Yale School of Archi-tecture is currently on view at the Cooper-Hewitt National Design Museum as part of its Rococo: The Continuing Curve 1730–2008 exhibition. The show examines the lasting impact of the Rococo period in design of the last four centuries; the poster, with the sinuous lines of Bantjes’ calligraphy, is one of twelve objects chosen to repre-sent the 2000s. The exhibition remains on view through 6 July 2008.Posters, Events, New York, Michael Bierut, Typography 04 / 16 / 2008 | Permalink

The Seduction symposium poster designed by Michael Bierut and Marian Bantjes for the Yale School of Architecture is currently on view at the Cooper-Hewitt National Design Museum as part of its Rococo: The Continuing Curve 1730–2008 exhibition. The show examines the lasting impact of the Rococo period in design of the last four centuries; the poster, with the sinuous lines of Bantjes’ calligraphy, is one of twelve objects chosen to represent the 2000s. The exhibition remains on view through 6 July 2008.Posters, Events, New York, Michael Bierut, Typography 04 / 16 / 2008 | Permalink

BOOK REVIEW In honor of Michael Bierut being conferred the AIGA Medal in 2006, the graphic design industry’s highest and most prestigious honor, Mohawk Papers wanted to take the initiative to celebrate his work and efforts on behalf of the design industry and AIGA. What more appropriate than the posters Bierut had designed for the Yale School of ArchitectureMichael Bierut’s posters for the Yale School of Architecture was commissioned by none other than Robert A.M Stern, the dean of the school. Under the direction of Stern, whose brief was; ‘I want to surprise people.’ Thus, Bierut set about to reinvent and re-brand the Yale School, but such that the brand neither triumphed over, nor substituted for content. A most interesting aspect throughout the series of the posters was that a typeface was never used twice, in opposite to Willi Kunz’s precedence at Columbia University, Stern’s previous institution. However, it is executed in such a way that; in the words of Bierut, ‘the idea that diversity could represent its own form of consistency began to take hold.’

BOOK REVIEW In honor of Michael Bierut being conferred the AIGA Medal in 2006, the graphic design industry’s highest and most prestigious honor, Mohawk Papers wanted to take the initiative to celebrate his work and efforts on behalf of the design industry and AIGA. What more appropriate than the posters Bierut had designed for the Yale School of ArchitectureMichael Bierut’s posters for the Yale School of Architecture was commissioned by none other than Robert A.M Stern, the dean of the school. Under the direction of Stern, whose brief was; ‘I want to surprise people.’ Thus, Bierut set about to reinvent and re-brand the Yale School, but such that the brand neither triumphed over, nor substituted for content. A most interesting aspect throughout the series of the posters was that a typeface was never used twice, in opposite to Willi Kunz’s precedence at Columbia University, Stern’s previous institution. How-ever, it is executed in such a way that; in the words of Bierut, ‘the idea that diversity could represent its own form of consistency began to take hold.’


Friends, family, clients and colleagues gathered in New York’s Madison Square Park Tuesday night to celebrate the release of Michael Bierut’s new book, Seventy-Nine Short Essays on Design published by Princeton Architectural Press. Appropriate for the sultry sum-mer evening, guests were served Shackburgers, hot dogs and frozen custard from the park’s popular Shake Shack. Congratulations were heard all around for both Bierut’s accomplishment and Abbott Miller’s design in which each of the book’s 79 essays is formatted in a different font.

APORTES

APORTES

To preface this series of interviews, here are the questions I originally asked:How do you approach a new branding project?What does your research include?Would you describe your process?What do you feel is the most successful brand you’ve designed? Why?How do you test an idea?


Veer pointed to an article by CR Blog about Kate Moss’ new TopShop line brand created by English Graphic Designer, Peter Saville, in collaboration with typograher Paul Barnes. To follow with Kate’s Boho style, the end result is a font based on the font Albro by Alexey Brodovitch who was the Art Director for Harper’s Bazaar (well known for their ty-pographic layouts) from 1934-1958.

Veer pointed to an article by CR Blog about Kate Moss’ new TopShop line brand created by English Graphic Designer, Peter Saville, in collaboration with typograher Paul Barnes. To follow with Kate’s Boho style, the end result is a font based on the font Albro by Alexey Brodovitch who was the Art Director for Harper’s Bazaar (well known for their typographic layouts) from 1934-1958.

It’s fun to see how the logo’s changed since 1946.But that’s not where our fashion logo trip ends. Even Kate Moss gets a logo of her own for her new Topshop collection. This one from the ground up.


Why?How do you test an idea?Time For DesignPosted by Megan Amidst a slew of product, interior and textile designers celebrated in Time Magazine’s recent Style & Design 100 issue, it was refreshing to see a great representative from the graphic design side of the industry. Pentagram’s Michael Bierut was featured for his redesign of the Saks Fifth Avenue logo.


Tuesday, December 16, 2008Beautifully craftedI have blogged Pentagram before, but only once, so this hasn’t - yet - become some mad fan blog. Two nice things come together on this one – the (literally) shiny new Museum of Arts and Design (MAD) in New York and their new logo by Michael Bierut at Pentagram.

I visited the old MAD just before it closed and saw a great Droog exhibition. But that building had little impact at street level. The new one looks impressive, a re-clad block of 1964 origin. From where I sit it looks all the better for its facelift. The new skin of iridescent tiles has been cut about with striking lines of fenestration, making the building in to a ‘piece’ to echo the craft it will house. Of course, the project upset conservationists but the original building was a pretty dour, dated looking thing.

So. The logo. Its development is described in detail on the tasty Pentagram blog and I can’t better that. What I really really love about this logo is the way the design accepts varied, textured imagery; paper, wood, basketry...so nice for a museum dealing with craft. And the way the logo is rather difficult to read actually dilutes the somewhat unfortunate acronym of MAD and makes a design – and a success - of it.

The rolled out alphabet of the MAD face is full of jolly fat letters, extending the visual metaphor. It looks great too, working with colours and images. It has almost become pure pattern. Although it has only been used on marketing where legibility could be subsumed in the name of recognisablity; there is a more classic face for the real printed output.It’s quite hard to make anything ‘craft’ sexy, I think. But this does it for me.



So. The logo. Its development is described in detail on the tasty Pentagram blog and I can’t better that. What I really really love about this logo is the way the design accepts varied, textured imagery; paper, wood, basketry...so nice for a museum dealing with craft. And the way the logo is rather difficult to read actually dilutes the somewhat unfortunate acronym of MAD and makes a design – and a success - of it.


AFICHES


01. Call for Entries for the Architectural League of New York, 2002Michael Bierut has fessed up to the sin of faux science, and has submitted this item:.




This one was Michael Bierut and our intern at the time, Ross Channing, going for a very stylized “L” icon that could also be read as an infinite symbol. More pretty colors, just muted.

We have, at this very moment, been paid a visit by our friendly neighborhood UPS delivery man, who came bearing gifts in the form of the yellow beauty you see above: Seventy-Nine Short Essays on Design by Michael Bierut. As far as we can tell, designer Abbott Miller set each of these 79 essays in a different typeface, so after you read the thing a whole other level of entertainment can be found by puzzling over why each one was chosen especially for that topic. We also were wondering how Bierut was going to handle including the hyperlinks from his adapted Design Observer essays, but there is a succinct little appendix in the back that includes background and links for each piece. It’s a nice touch.

And we absolutely love this news: The day the book is published, there will apparently be a party at the Shake Shack in Madison Square Park (just a hop, skip and a jump from Pentagram’s office, mind you). And get this: The Shack’s got a camera planted atop its delicious self so even those not in NYC can raise a Fluffer Nutter concrete along with the rest of the well-wishers. Stay tuned for details so you can tune in, too

OPINION

OPINION

MICHAEL BIERUT nación en cleveland estudio Diseño Grafico, es un person-aje muy interesnte ya que sus diseños son muy llamativos por que se basa en la gerarquisacion de la tipografias.

Le gusta jugar con letra muy grande y muy pequeñas ya que le de mas inportan-cio a los titulos o nombres ,lo resalta con una tipografia muy grande y pesada y le da menos valor a la informacion, le gusta trabajar con tipografia muy pesadas, tipografia con curvas y muchas lineas.

MICHAEL BIERUT en si no creo su propia tipografia si no que participo en muchas de las creaciones de tipografias.

A pesar de ser un critico en el campo del Diseño Grafico uso o diseño una com-binacion de tipografia en bolsos, mochilas, y otros emplemesntos , tanbien dieño libros, afiches donde se destacan varios de sus diseños sus trabajos la mayoria eran con colores blanco y negro.

MICHAEL BIERUT nación en cleveland estudio Diseño Grafico, es un personaje muy interesnte ya que sus diseños son muy llamativos por que se basa en la gerarquisacion de la tipografias.

Le gusta jugar con letra muy grande y muy pequeñas ya que le de mas inportancio a los titulos o nombres ,lo resalta con una tipografia muy grande y pesada y le da menos valor a la informacion, le gusta trabajar con tipografia muy pesadas, tipografia con curvas y muchas lineas.

MICHAEL BIERUT en si no creo su propia tipografia si no que participo en muchas de las creaciones de tipografias.

A pesar de ser un critico en el campo del Diseño Grafico uso o diseño una combinacion de tipografia en bolsos, mochilas, y otros emplemesntos , tanbien dieño libros, afiches donde se destacan varios de sus diseños sus trabajos la mayoria eran con colores blanco y negro.

GR DIAlejandro Meidna [email protected]ño Grafico y Diagramacion

Michael Bierut Michael Bierut


Obras Destacadas

The Yale ‘Y”, a long established and respected graphic symbol was given a new lease of life, with its typeface always different, but it always appears in a circle, as evident on the single-level embossed book’s cover. With an introduction by Robert A.M Stern and Michael Bierut, co-published by Winterhouse Editions and

Mohawk Papers, this book is an ingenious compilation of art, imagination, and a decade of a partnership and collaboration between a client and designer.Forty Posters for the Yale School of Architecture is printed by Finley Brothers on Mohawk Superfine, Eggshell, Ultrawhite 100 text and 80 cover, with a single level registered emboss on the book’s cover. Proceeds from the sale of this book will support the AIGA Winterhouse Awards for Design Writ-ing and Criticism. Purchase the book here.

Galerias


new work by Pentagram: Murals for The Library InitiativeMichael Bierut with a team of designers at Pentagram collaborate with other graphic designers, artists and architects to help beautify the elementary school libraries in New York City’s five boroughs. The expansive L!brary Initiative includes 5 newly built libraries in the Bronx, featuring murals by Rafael Esquer, Maira Kalman, Christoph Niemann, Stefan Sagmeister and Yuko Shimizu, and Charles Wilkin.I first read about this inspiring, fantastic, beautiful project in the New York Times last week in an article titled, A Is for Artwork That Lures Bronx Schoolchildren to New Libraries.

16

Galerias

new work by Pentagram: Murals for The Library InitiativeMichael Bierut with a team of designers at Pentagram collaborate with other graphic designers, artists and ar-chitects to help beautify the elementary school libraries in New York City’s five boroughs. The expansive L!brary Initiative includes 5 newly built libraries in the Bronx, featuring murals by Rafael Esquer, Maira Kalman, Christoph Niemann, Stefan Sagmeister and Yuko Shimizu, and Charles Wilkin.I first read about this inspiring, fantastic, beautiful project in the New York Times last week in an article titled, A Is for Artwork That Lures Bronx Schoolchildren to New Libraries.

17

Galerias


18

Friends, family, clients and colleagues gathered in New York’s Madison Square Park Tuesday night to celebrate the re-lease of Michael Bierut’s new book, Sev-enty-Nine Short Essays on Design pub-lished by Princeton Architectural Press. Appropriate for the sultry summer evening, guests were served Shackburgers, hot dogs and frozen custard from the park’s popular Shake Shack. Congratulations were heard all around for both Bierut’s ac-complishment and Abbott Miller’s design in which each of the book’s 79 essays is formatted in a different font.

19


20

APORTES


21

APORTESVeer pointed to an article by CR Blog about Kate Moss’ new TopShop line brand created by English Graphic De-signer, Peter Saville, in collaboration with typograher Paul Barnes. To follow with Kate’s Boho style, the end result is a font based on the font Albro by Alexey Brodovitch who was the Art Director for Harper’s Bazaar (well known for their ty-pographic layouts) from 1934-1958.


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So. The logo. Its development is described in detail on the tasty Pentagram blog and I can’t better that. What I re-ally really love about this logo is the way the design accepts varied, textured imagery; paper, wood, basketry...so nice for a museum dealing with craft. And the way the logo is rather difficult to read actually dilutes the somewhat unfortunate acronym of MAD and makes a design – and a success - of it.


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AFICHES01. Call for Entries for the Architectural League of New York, 2002Michael Bierut has fessed up to the sin of faux science, and has submitted this item:.



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AFICHES


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This one was Michael Bierut and our intern at the time, Ross Channing, going for a very stylized “L” icon that could also be read as an infinite symbol. More pretty colors, just mut-ed.

We have, at this very moment, been paid a visit by our friendly neighborhood UPS delivery man, who came bear-ing gifts in the form of the yellow beauty you see above: Seventy-Nine Short Essays on Design by Michael Bierut. As far as we can tell, designer Abbott Miller set each of these 79 essays in a different typeface, so after you read the thing a whole other level of entertainment can be found by puzzling over why each one was chosen especially for that topic. We also were wondering how Bierut was going to handle including the hyperlinks from his adapted Design Observer essays, but there is a succinct little appendix in the back that includes background and links for each piece. It’s a nice touch.

And we absolutely love this news: The day the book is pub-lished, there will apparently be a party at the Shake Shack in Madison Square Park (just a hop, skip and a jump from Pentagram’s office, mind you). And get this: The Shack’s got a camera planted atop its delicious self so even those not in NYC can raise a Fluffer Nutter concrete along with the rest of the well-wishers. Stay tuned for details so you can tune in, too

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OPINIONMICHAEL BIERUT nación en cleveland estudio Diseño Grafico, es un personaje muy interesnte ya que sus diseños son muy llamativos por que se basa en la gerarquisacion de la tipografias.

Le gusta jugar con letra muy grande y muy pequeñas ya que le de mas inpor-tancio a los titulos o nombres ,lo resalta con una tipografia muy grande y pe-sada y le da menos valor a la informacion, le gusta trabajar con tipografia muy pesadas, tipografia con curvas y muchas lineas.

MICHAEL BIERUT en si no creo su propia tipografia si no que participo en mu-chas de las creaciones de tipografias.

A pesar de ser un critico en el campo del Diseño Grafico uso o diseño una combinacion de tipografia en bolsos, mochilas, y otros emplemesntos , tanbien dieño libros, afiches donde se destacan varios de sus diseños sus trabajos la mayoria eran con colores blanco y negro.

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OPINION

GR ID

revistagrid !

Documents

denver art museum

the museum of modern

diseo yse

estudi diseo grfico

diseo grfico ambiental

vicepresidente de diseo

national design museum

new york chap