Index

A

AIGA (American Institute of Graphic Arts), 59, 64

AIGA chapters, 212–215

approvals, getting, 50

architecture, training in, 141

art, proximity to antiquities, 142

Art Direction magazine, 64

art directors

making changes requested by, 108–109

searching in LMP, 85

art versus design. See design versus art

artists. See also designers

versus designers, 4, 216–217, 223

judging mastery of, 23

Asimov, Isaac, 79–80

Avant Garde magazine, 3

Avon Books, 86–87, 93

B

Ballantine, Ian

versus Bertoli, Barbara, 93

biography, 78–79

genre publishing, 78

Lord of the Rings, 78

Ballay, Joseph, 6, 8

Bantam Books, 85

Bass, Saul, 215–217

biography, 24

creative directors, 29

design versus art, 216

versus Fuller, Buckminster, 30

Grand Prix titles, 27–28

Notes on Change, 28

pacing of humor, 25–26

physical description, 25

power in professional relationships, 27–28

process and outcome, 30

responding to interviews, 30

sample designs, 27

Why Man Creates, 25

Beers Construction, 207

Bertoli, Barbara, 86–88, 112–113

versus Ballantine, Ian, 93

sample designs, 96

work style, 93–94

Bertoli Toggle, 107–109, 116

Black Holes: The End of the Universe? 110–112

Booth 6, 60–61, 113

budget, managing, 23

Budway, Pat, 189–190

Burke, James, Jr.

biography, 31–32

collecting, 32

design versus art, 34–35

versus Gottschall, Ed, 67

maintaining momentum, 34

model trains, 33–35

reviewing customer requests, 34

success in design, 33

business details, relationship with, 220

C

carbon molecules illustration, 12

Carmen Jones poser, 24

CBS branding, 171–172

Chalfant, Flip, 219

Chermayeff, Ivan

advice received from, 170–171

biography, 165

interview with, 166–168, 170–171

sample designs, 169

search for essence, 168

Chermayeff and Geismar, 165

Chwast, Seymour

advice received from, 76–77

biography, 72

books illustrated by, 72

critique received from, 76

perceptions versus truth, 78

Push Pin Almanack, 72

sample designs, 75

clients, flexibility of, 184

CMU (Carnegie Mellon University), 4

Coca-Cola

ads, 205

Condrey, Dave, 194–200

Duncan, Bill, 194–200

Woodruff, Robert, 201–206

Colad company, 194–195

collecting, significance of, 32

competition versus talent, 65–66

Condrey, Dave

advice received from, 198

biography, 194

emphasizing money, 200–201

interview with, 194–201

“Connections” theme, 19–24

control, fighting for, 154

Craig, James

biography, 143

interview with, 144–145, 147

Production for the Graphic Designer, 143

sample designs, 146

Watson-Guptill, 143

“creative friend,” 225

creative people, managing, 113

creative process, steps in, 224

creative work

producing, 224

requirement of, 4

customer requests, reviewing, 34

D

Dalí, Salvador, 3–4

design

as academic subject, 126

considering from client side, 167–168

versus culture, 48

Eames’ process, 19–24

greatness of, 10

importance of, 213

magic of, 213

objective of, 9

versus promotion, 140

purpose of, 132

succeeding in, 128

transformational nature of, 105

Design for the Real World, 4, 7

design meetings, 97

design project, ideal example of, 144–145

design science, applying via World Game, 13–18

design versus art, 4, 11, 45, 57, 78, 84, 104, 115, 217, 223-224, 233

Bass’ perspective, 216

Burke’s perspective, 34–35

Edelmann’s perspective, 56

Fuller’s perspective, 18

Herdeg’s perspective, 42–43

designer/client relationship, 227

designers

being successful as, 33

judging mastery of, 23

training as architects, 141

discipline versus freedom, 48

Dorfsman, Lou

biography, 171

CBS branding, 171–172

interview with, 171–173, 175–177

perfecting designs, 177

sample designs, 174

Dream Collector, 99, 107

Dreyfus, Henry, 8

Drucker, Peter, 221–222

Duncan, Bill, 205–206

biography, 194

interview with, 194–201

Dymaxion illustrations, 12

E

Eames, Charles and Ray

biography, 19

choice of media, 21–23

“Connections” theme, 19–24

design illustrations, 20

experimental films, 19

film as medium, 21

getting playful results, 22–23

IBM project, 21

managing budget, 23

plywood chairs, 21–22

Powers of Ten, 19, 21–23

Edelmann, Heinz, 80

biography, 49

book jackets, 50

career development, 54–55

design versus art, 56

getting approvals, 50

portfolios as barriers, 55–56

process, 51–52, 54

sample designs, 53

work style, 50

Yellow Submarine, 49

ergonomics study, 8

F

Felver, Richard, 6

fiction genre, 82

film as medium, 21

fonts. See also typography; Zapf, Hermann

choosing, 162

discussion of, 45, 48

Optima, 152

Fried, Geoff, 159, 162

Fuller, Buckminster

aircraft winch, 11

versus Bass, Saul, 30

biography, 11

comprehensive design science, 11

creations, 13

design versus art, 18

design vocabulary, 11

“dymaxion,” 11–12

Dymaxion car, 13

Dymaxion House, 13

Dymaxion map, 13

as educator, 13

geodesic dome, 13

I Seem to be a Verb, 11, 13

inventions, 11

“Men with Ideas” lecture series, 13

Nine Chains to the Moon, 11, 127

objective of, 14

Operating Manual for Spaceship Earth, 11

versus Papanek, Victor, 14

physical description, 13

“synergetics,” 11–12

“tensegrity,” 11–12

university affiliation, 13

World Game, 13–18

furnishing, collapsible, 7

G

Gellerstedt, Lawrence, Jr.

biography, 207

interview with, 207–211

leadership philosophy, 210–211

genre publishing, 81

fiction, 82

science fiction, 82

geodesic dome illustration, 12

George, Be Careful, 68–69

Glaser, Milton, 112–113

Goizueta, Roberto

biography, 223

“creative friend,” 225

interview with, 225–227

physical description, 225

sample design, 226

Gottschall, Ed, 59, 61, 64, 184

advice received from, 65

Art Direction magazine, 64

biography, 64

versus Burke, James, Jr., 67

physical description, 65

Typographic Communications Today, 64

typography project, 66

Grand Prix titles, 27–28

Graphis magazine, 36, 40–42

“grunt,” explained, 119–120

H

Helvetica, Designer of, 98–102

Hennessey, James, 7

Herdeg, Walter

biography, 36

design versus art, 42–43

Graphis magazine, 36

interview, 39–42

physical description, 39

heuristics, science of, 21

Hightower, Caroline Warner

AIGA chapters, 212–215

biography, 211–212

importance of design, 213

interview with, 212–215

human adults, dimensions of, 8

I

I Seem to be a Verb, 11, 13

ideas, sources of, 4

illustrators, communicating with, 193

industrial design, attitudes about, 9

interviewers, qualities of, 66–67

J

Jane Eyre, 81

Jones, Joe, 203–206

Jones, Margaret Wilson, 218–219

K

Kennedy, Doris Lockerman, 202–203

Keough, Don, 224

Kline, Franz, 115, 118

Kuntz, Jack

biography, 36

physical description, 37

L

Laminall, 134–135

Le Corbusier’s Modulor, 8

leadership

Gellerstedt’s philosophy of, 210–211

versus management, 221–222

Leone, Len

contacting, 85–86

Macmillan bloodbath, 86

The Sleeping Murders, 86

Lepper, Robert, 6

Literary Marketplace (LMP), 85

Lois, George, 68–69

Lord of the Rings, 78

Lubalin, Herb, 67, 114

biography, 178

interview with, 179, 182–184

sample designs, 180–181

M

Mabey Trousdell design, 188–189

Macmillan bloodbath, 86

Malthus, 14, 18

management versus leadership, 221–222

marketing, goal of, 218

Maugham, Somerset, 119

Mayer, Peter, 95, 97, 102

biography, 108–109

discussion with, 112–113

McMullan, James

advice received from, 90, 92

biography, 89

sample designs, 91

watercolor medium, 90

The Measure of Man, 8

media for projects, choosing, 21–23

Men with Ideas lecture series, 13

Miedinger, Max

biography, 98

“Designer of Helvetica,” 98

interview with, 98–102

Photo-Lettering, Inc., 98

model trains. See Burke, James, Jr.

Modulor by Le Corbusier, 8

momentum, maintaining, 34

Morse, A. Reynold, 3

Müller-Brockmann, Josef, 38–39

biography, 43–44

design versus culture, 48

discipline versus freedom, 48

poster illustrations, 46–47

versus Rand, Paul, 45, 48

N

Nebiolo, Richard, 88–89, 93–94, 107

Nelson, George

80-18-2 maxim, 217

biography, 122–123

The Civilized City, 124

creative process, 126–127, 129

developing ideas, 126–127

discussion of slide project, 127–128

discussion of Venice, 126

Philosophy of Design class, 123

planned progress, 132

purpose of, 132

sample designs, 130–131

New York helicopter accident, 147–150

Nine Chains to the Moon, 11, 127

NIRI (National Investor Relations Institute), 218

Nomadic Furniture, 7

Notes on Change, 28, 215–216

O

Of Human Bondage, 119

On with the Show, 134, 141, 160, 173

Open Space in the Inner City, 103

Operating Manual for Spaceship Earth, 11

opportunities, paying attention to, 145

Optima font, 152

order takers versus product innovators, 8

Organization Behavior and Industrial Psychology, 116–117

OUP (Oxford University Press), 114

P

Papanek, Victor

awards received, 5

biography, 4

Design for the Real World, 4, 7

emphasis on selling, 8

foundational material, 8

versus Fuller, Buckminster, 14

objective of, 7

physical description, 5

projects with students, 7

reframing questions, 9

relationship to students, 5–6

study of user populations, 7

ten-cent radio, 7

and Wright, Frank Lloyd, 4

Papillon, Walter, 59, 61

Penn Station Booth 6, 60–61, 113

perceptions versus truth, 78

Perrott, Mark, 5

Photo-Lettering, Inc., 98–99

portfolios as

barriers, 55–56

qualities of, 9–10, 38

terminology, 62

The Power of God, 121

Powers of Ten, 19, 21–23

Preminger, Otto, 24

presenting to groups, 175

process and outcome, 30

product innovators versus order takers, 8

Production for the Graphic Designer, 143

publishers, cues used by, 81–82

publisher’s problem, 80

Push Pin, 39

Push Pin Almanack, 72

Q

questions, reframing, 9

R

Rand, Paul, 65, 163

biography, 158

critique received from, 163

designer as brand, 158–160, 162–164

interview with, 160, 162–164

versus Müller-Brockmann, Josef, 45, 48

physical description, 159–160

preparing for interview with, 159

sample designs, 161

versus Zapf, Hermann, 162

Rondthaler, Ed, 98–99

Rose, Drew, 224–225

Rüegg, Ruedi, 43–44

S

sales meetings, running, 109–114

schlock, 183

Schneider, Frederick, 121–122, 134

advice received from, 120–122

assignment from, 116

design process, 119

physical description, 115

Schumacher, E. F., 126

science fiction genre, 82

Scientific Atlanta, 220, 222

Seeger, George, 7

selling, emphasis on, 8

Serendipity Theory, 88

Sexual Secrets, 189

The Sleeping Murders, 86

Small Is Beautiful, 126

Sommers, Ian, 79–80

Stern, Herb, 133–134

advice received from, 70–71, 76

biography, 68

physical description, 69

production details, 70–71

students

design projects with Papanek, 7

responses from, 6

style

versus expression, 193

as search for essence, 168

versus streamlining, 124

Sumpter, Will, 224–225

Switzerland, visit to, 36

“synergetics,” 11–12

T

talent

applying, 155

versus competition, 65–66

evaluating, 157–158

using to make money, 154–155, 157

teachers, relationships with students, 6

Television: The Critical View, 121

ten-cent radio, 7

“tensegrity,” 11–12

Theater of the Mind, 107

tipping point on train, 147–150

Topol, Sidney

biography, 218

interview with, 218–222

physical description, 218–219

train models. See Burke, James, Jr.

Tress, Arthur, 99

Dream Collector, 99, 107

interview with, 103–104, 106–109

lifestyle, 103

sample designs, 105

Theater of the Mind, 107

Trousdell, Don

biography, 188

development of sty, 192–194

interview with, 189–190

invitation received from, 189

sample designs, 191

Typographic Communications Today, 64

typography, power of, 99. See also fonts; Zapf, Hermann

U

underserved populations, identifying, 9

university press, transition to, 121

user populations, study of, 7

utility, striving for, 10

V

The Valise, 59, 61–64

Vignelli, Massimo

biography, 135–136

interview with, 137–138, 140–142

sample designs, 139

Vignelli Associates, 114, 132–133, 135

W

Warner Hightower, Caroline

AIGA chapters, 212–215

biography, 211–212

importance of design, 213

interview with, 212–215

Watson-Guptill, 143

Wexley and Yukl, 116–117

Why Man Creates, 25

Wilder, Thornton, 95, 97

Wilson Jones, Margaret, 218–219

Woodruff, Robert

biography, 201

interview with, 204–206

World Game, 13–18

Wright, Frank Lloyd, 4

Wright, John, 209–210

“wrist,” explained, 119–120

Y

Yellow Submarine, 49

Z

Zapf, Hermann. See also fonts; typography

biography, 150–151

fighting for control, 154

lecture, 151–155, 157–158

versus Rand, Paul, 162

sample designs, 156

significance of speed, 151

Ziff-Davis, 69