US designers contribute type, posters, badges and branding to the Hillary Clinton cause
From the outset, the Hillary Clinton campaign has enlisted the help of some of the United States’ best designers to portray and propagate her messages.
The Hillary Clinton campaign identity designed byMichael Bierut and his team atPentagram.
Pentagram’s Michael Bierut and his team designed the campaign identity in 2015 which used Sharp Type foundry’s typeface Sharp Sans Display No.1 as the foundation for their identity system. The foundry’s co-founder Lucas Sharp saw this application as an ‘opportunity to take the design further. We had drawn a tightly spaced, Lubalin-esque geometric sans that looked really good big. Now we wanted to draw a version with utility and versatility, that could work in any situation.’
‘Stronger Together’ is set in Sharp Slab for Hillary.
Bierut’s extensive identity system would be used by all manner of people on the campaign trail – from professionals to volunteer organisers – which meant that the detailed instructions laid out in the style guide for tracking a display face used for other applications were unlikely to be followed. Sharp writes, ‘It occurred to us that a serious presidential campaign needs a typeface that can work in any situation.’ As a result, Sharp Sans grew to include Sharp Unity for Hillary, Sharp Slab for Hillary, Sharp Slab Extrabold, Sharp Slab Book, Sharp Stencil for Hillary and Sharp Stencil.
Examples of Sharp Slab for Hillary,Sharp Unity for Hillary, Sharp Stencil for Hillary, Sharp Slab Extrabold, Sharp Slab Book and examples of several of the fonts in use on a campaign bus.
Jennifer Kinon of design and branding agency Original Champions of Design (OCD) stepped away from her agency role to become Hillary Clinton campaign’s design director. Kinon was tasked with rolling out and extending from the identity designed by Michael Bierut (Pentagram) that used the Sharp Sans family. Both Bierut and Sharp have praised Kinon’s work online and many of her designs have gone viral including the ‘Love Trumps Hope’ image.
A selection of Hillary merchandise.
Other design led initiatives in support of Hillary Clinton include The Forty-Five Pin Project and 30 Reasons with work by designers such as Matt Dorfman, Elizabeth Resnick and Craig Frazier.
30 Reasons posters by Elizabeth Amorose, OCD,Bonnie Siegler andLarkin Werner.
Vote.
Hillary for Americavideo showing Pentagram’s identity in action.
Eye is the world’s most beautiful and collectable graphic design journal, published quarterly for professional designers, students and anyone interested in critical, informed writing about graphic design and visual culture. It is available from all good design bookshops and online at the Eye shop, where you can buy subscriptions and single issues.
Here are a few photobooks that have recently caught our attention … each reviewed in no more than 140 characters.
Matías Celedón’s The Subsidiary haunts readers with a horror story made using rubber stamps.
Celedón designed each rubber stamp and individually stamped each page. He used an antique Trodat stamp set he bought at a Santiago bookstore.
Top: Spread fromUnderstanding the Sky by Dave Eggers.
The Subsidiary (2016) is Chilean author Matías Celedón’s first novel to be translated into English (translation by Australian writer Samuel Rutter).
Dave Eggers’ Understanding the Sky weaves together photographs and dialogue to tell a heart-warming story about a man who wants to fly.
Understanding the Sky, 2016, by Dave Eggers. The book includes over 150 photographs, all taken by the author.
Written in Japanese, Andrew Pothecary’s Alphabet Secrets Revealed by a British Designer is a Brit’s eye view of English characters.
Author Andrew Pothecary’s spread about the letter ‘V’. Pothecary argues that there are certain connections, meanings and associations linked to each letter.
Cover of Tokyo-based graphic designer Andrew Pothecary’s Alphabet Secrets Revealed by a British Designer(2016).
Ian Nathan’s Tim Burton: The Iconic Filmmaker and his Work chronicles the fantasy film director’s career with vibrant still captures.
Spread showing a still image from Burton’sFrankenweenie (2012). The images within the book are from the archives of The Kobal Collection.
Spread showing aEdward Scissorhands (1990) poster and a headshot of the movie lead Johnny Depp.
Cover of Tim Burton: The Iconic Filmmaker and his Work,2016. The book was designed by Sue Pressley and Paul Turner, Stonecastle Graphics Ltd.
Harry Callahan: The Street features the American photographer’s less well known street photography, in black-and-white and in colour.
Wells Street, Chicago (left), Old Town, Chicago (right) (1949).
Aside from straightfoward street photography, Callahan is known for his experimental work, such as Atlanta(1985), a dye transfer print.
Harry Callahan: The Street (2016) was edited by Grant Arnold and published by Black Dog Publishing in partnership with the Vancouver Art Gallery. On the cover is Callahan’sProvidence (detail, 1967). Photographs of books in ‘Books received #24’ by Mariam Dembele.
Eye is the world’s most beautiful and collectable graphic design journal, published quarterly for professional designers, students and anyone interested in critical, informed writing about graphic design and visual culture. It is available from all good design bookshops and online at the Eye shop, where you can buy subscriptions and single issues.
Pentagram’s alphabet for Pink Floyd Records, based on the stencil lettering from the cover of the band’s 1977 album, Animals
Aubrey Powell and Storm Thorgerson’s record sleeves for Pink Floyd are some of the most memorable of all time. Working under the name Hipgnosis, the pair’s surreal imagery inspired generations of designers and have become enduring symbols of the band’s music. Think of Pink Floyd, and it’s near impossible not to imagine the prism on the cover of Dark Side of the Moon or the bright pink pig on the sleeve of Animals.
Pink Floyd’s music and visual output is the subject of a major retrospective opening at London’s V&A Museum in May. In November last year, the band released a 27-disc box set of early singles and recordings on their record label Pink Floyd Records.
Pentagram also created an outline version of the alphabet
The stencil lettering on Animals formed the basis for Pink Floyd Records’ visual identity
Details of the original lettering on the album cover
The full alphabet used in the Pink Floyd Record’s identity
Pentagram also created an outline version of the alphabet
The stencil lettering on Animals formed the basis for Pink Floyd Records’ visual identity
The identity for Pink Floyd Records was designed by Pentagram partner Harry Pearce and his creative team and is based on the stencil lettering from the cover of Animals. Designer Johannes Grimmond worked with Pearce to create a complete alphabet based on the original letterforms, giving the label a distinctive logotype. The alphabet can also be used as a headline font on new releases and merchandise.
Pink Floyd Records logotype. The alphabet can also be used as a headline fontEdition numbering for record label releases
Pearce says he initially experimented with creating something new for the label but decided that the lettering “just had a wonderful quality to it.”
“The stencil somehow feels evocative of the stencilling on all their equipment and their boxes…. It’s such a wonderful, idiosyncratic bit of type that we just felt it deserved a bigger life than it had already,” he told CR. “[The band and Powell] loved the idea and it’s right in the middle of the canon of all of their work.”
Creating a complete alphabet based on the design was quite a challenge. “It was originally made to be on a 12″ LP … when you take that typeface and make it very small, which it often had to be, all of the inter-character work, the huge contrast between the stencil cuts through the lettering was so narrow that you reduce it down and it just sort of closes up,” says Pearce. “That was one challenge and the fact was that we just didn’t have that many letters, so we did an analysis of the forms of letters that were there and built a system on that.”
The logotype in use on CD packaging
The box set’s outer packaging was inspired by the band’s Bedford van
The Bedford van that inspired the packaging
Spine credits for individual volumes in the box set
The logotype in use on CD packaging
The box set’s outer packaging was inspired by the band’s Bedford van
Pearce and his team also designed The Early Years 1965 – 72, which features early singles and previously unreleased recordings from Pink Floyd’s archives.
The black-and-white outer casing takes inspiration from the Bedford van that the band once drove around in (see gallery above). Discs are packaged in seven volumes – one for each year between 1965 and 72 – and each one features a painting by artist John Whiteley (an old friend of Powell’s) on its cover.
Whiteley created the artworks during the band’s early years but – like much of the material on the box set – they have never before been released. “Those beautiful works of his have never seen the light of day so that was a lovely continuity there,” says Pearce. “They aren’t modern versions of his work, they were made at the same time [as the recordings].”
A2’s Typewriter font is used throughout the packaging, offering a more contemporary take on traditional typewriter lettering. “We thought that was relevant, as even though [the box set] is old material, we’re cataloguing it today, so it isn’t just all nostalgia.”
CD labels also feature Whiteley’s psychedelic artwork
The Early Years… features 27 discs packaged in seven ‘volumes’
A2’s Typewriter font is used throughout the packaging
CD labels also feature Whiteley’s psychedelic artwork
The Early Years… features 27 discs packaged in seven ‘volumes’
Booklets feature photos from the band’s archives
The cover of each volume features an artwork by John Whiteley
Booklets also feature photos from the band’s archive
The box set has an archival feel
Booklets feature photos from the band’s archives
The cover of each volume features an artwork by John Whiteley
Booklets contain lyrics and photographs from Pink Floyd’s archives, many of which have never before been published. The box set also features some lovely added touches. The spine of each volume bears a unique reference number and a word representing that year’s output. Roger Waters came up with the words for each year and each one is intercepted with a forward slash, providing another reference to the white stripe on the Bedford van.
Pentagram worked closely with Aubrey Powell on the design of the identity and the box set. “He was a bit like our filter really. He’s so intimate with the band, we took his advice on the directions and ideas [that were presented to him] and he took them to the band. Him being a designer himself, it was a really sympatico relationship,” says Pearce.
As a long time fan of Pink Floyd’s, Pearce describes the project as “a complete joy”.
“When I was a teen in the 1970s listening to that stuff, holding that 12″ sleeves in my hands, never did I dream I’d one day be working with some of that material,” he says. “Some of that music was founding stuff for me back in the 70s, so it’s a very precious thing to do and we took immense care on this project.”
“That’s probably another reason why we honoured the lovely lettering on that original Animals album [for the identity],” he adds. “We could have imposed our own style on to this … we could have invented a new logo, but this just seemed to resonate so much more – the fact that we were honouring and using things that already existed and giving them a new and extended life.”
Pearce has also written an ‘outro’ for forthcoming Thames & Hudson book Vinyl. Album. Cover. Art: The Complete Hignosis Catalogue.
You can read our interview with Aubrey Powell about the work of Hipgnosis and his partnership with Thorgerson here.
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Randy Mora is a self-taught artist and illustrator currently working in Bogotá, Colombia. He makes cut and paste collages where he mixes a bit of everything, like scary anatomy, plants, kitschy devices and animals into elegant artwork. His collages develop from ideas he first puts down in small sketches. During the process, however, many variables lead him to other solutions far from the original idea. He usually works in Photoshop, scanning the pictures he needs. Each one of them has its own history: “the key is to know how to organize them into a solid concept. I don’t like to rush things.”
Moishindia 