POP: How Graphic Design Shapes Popular Culture PDF
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Pop How Graphic Design Shapes Popular Culture By Steven Heller © 2010 by Steven Heller All rights reserved. Copyright under Berne Copyright Convention, Universal Copyright Convention, and Pan American Copyright Convention. No part of this book may be reproduced, stored in a retrieval system, or transmitted in any form, or by any means, electronic, mechanical, photocopying, recording or otherwise, without prior permission of the publisher. Published by Allworth Press An imprint of Allworth Communications, Inc. 10 East 23rd Street, New York, NY 10010 14 13 12 11 10 5 4 3 2 1 Cover design by James Victore Interior design/page composition/typography by James Victore ISBN: 978-1-58115715-4 eBook ISBN: 978-1-58115-768-0 Library of Congress Cataloging-in-Publication Data Heller, Steven. Pop : how graphic design shapes popular culture / by Steven Heller. p. cm. “The essays in this book were written for various periodicals, Web site journals, and blogs, including Print magazine, Eye magazine, Baseline magazine, Metropolis magazine, Grafik magazine, DesignObserver.com, Voice: AIGA Journal of Design, and The New York Times T Magazine’s “The Moment” blog”-- Acknowledgments. ISBN 978-1-58115715-4 (pbk. : alk. paper) 1. Art and society. 2. Graphic arts. 3. Popular culture. I. Title. II. Title: How graphic design shapes popular culture. N72.S6H392 2010 741.6--dc22 2010009935 Printed in the United States of America Acknowledgments This book would not be possible if not for the encouragement of Tad Crawford, publisher of Allworth Press. His support spans over thirty books I’ve done for and with Allworth. For this, and his generosity of spirit and humor, I am forever grateful. The essays in this book were written for various periodicals, Web site journals, and blogs, including Print magazine, Eye magazine, Baseline magazine, Metropolis magazine, Grafik magazine, DesignObserver.com, Voice: AIGA Journal of Design, and the New York Times T Magazine’s “The Moment” blog. I’d like to thank the following editors for their continued support (and great editing): Martin Fox and Joyce Rutter Kaye, Emily Gordon (formerly of Print), James Gaddy (Print), John Walters (Eye), Hans Dieter Riechert (Baseline), Martin Pedersen (Metropolis), Angharad Lewis (Grafik), William Drenttel, Jessica Helfand, Michael Bierut, Julie Lasky and Jade-Snow Carroll (DesignObserver), Sue Apfelbaum (Voice), and Pilar Viladas (T Magazine). Also thanks to Sam Tanenhaus, Robert Harris, and David Kelly, my editors at the New York Times Book Review. I could not accomplish any of my goals if not for the support of my “family” at The School of Visual Arts. First and foremost, Lita Talarico, co-chair of the MFA Designer as Author program. Our work together has been an exceptional experience. Much gratitude to David Rhodes, president, for his consistent presence in my career, and Anthony Rhodes, executive vice president of SVA, for his generosity. Also many tips of the hat to my other SVA collaborators, Alice Twemlow (chair of MFA D-Crit), Liz Danzico (chair of MFA Interaction), Debbie Millman (chair of MPS Branding), and Maro Chermayeff (chair of MFA Social Documentary Film). Thanks also to Esther Ro-Schofield and Matt Shapoff in the MFA Designer as Author program. Finally, but certainly never the least, love and respect to my wife, Louise Fili, for the requisite putting up with my obsessions and inspiring me in the bargain. And to my son Nick, the next great American filmmaker. - Steven Heller Table Of Contents Introduction Snap, Crackle, Pop! Section One What’s Cool, What’s Not When It’s Cool to Say Cool Curse of the “D” Word The Decade of Dirty Design Give a Hand to Hand Lettering You’re Not Just a Designer Anymore … or Are You? Section Two Pop Icons Design for Obama Shepard Fairey Is Not a Crook Father of Shrek, Grandfather of Tweet When the One-Eyed Man Was King A Snippet of Interview History Sgt. Pepper’s Lonely Hearts Club Band The Last Loving Parody of The First Family The Design of Necromancy A Kodak Moment Take Me Out to the Old Yankee Stadium Section Three Design Literacy Cult of the Squiggly When Bad Things Happen to Good Logos A Good Trademark: A Historical Perspective Design Patois The Return of Stencil Lettering Velvet Touch Lettering Redux Clipping Art, One Engraving at a Time Berthold’s 1924 Hebrew Type Catalogue First on Deco The Missing Link: Graphic Design Trade Magazines and the Modern Avant Garde Better than Real: Graphic Design Facsimiles Steal the Stage Illusionism Meet Dimensionalism The Adtritus of Viral and Guerilla Advertising Section Four Beware! Got Flu? The Art of H1N1 Posters Japanese Face Masks Névrivitamine, Sérifer, Hémoluol, and Pancriol Hey Stinky, You’re Too Fat, and Your Skin’s Bad Too! Topanga, We Hardly Knew Ya The Sky Is Falling Section Five Art for Art’s Sake SMS – Shit Must Stop: Art to Go, Sixties Style Another Side of Ladislav Sutnar The Arthur Szyk Renaissance Why Does John Baeder Paint Diners? Section Six Intelligent Design Who Owns Intelligent Design? A Designer by Any Other Name. . . How Not to Be Motivated Section Seven Art For the Masses How Much Is That Artifact in the Window? A Mass for Mass-Market Paperbacks Confessions of a Book Catalogue Reader Music Design: Think Small Blue Q: Novelty Typecasting Titling Home Movies, Mitten’s Way Notgeld: The Design of Emergency Money The Art and Craft of Grocery Signs And the Trophy for the Most Generic Trophy Goes to . . . Canned Laughter Tracking the Street Measles Section Eight Nothing Sacred You Mean, Not All Designers Are Liberal? When Satire Was More than Funny My First Taste of Political Satire Once Upon a Time, There Was a Big Bad President The Model President: George W. Bush Advertising Star Where Have You Gone, R. Cobb? Mad Music Covering Weirdo [Magazine] Introduction Snap, Crackle, Pop!
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