Michael Bierut (born 1957) is a graphic designer, design critic and educator who designed the logo for Hillary Clinton's 2016 presidential campaign.
The design of the notorious Palm Beach County "butterfly ballot" in the 2000 Presidential election is certainly one of them. But I would say most of the time this is less about a conscious attempt to manipulate an outcome, and more about pure ineptitude.
I had a lot of enthusiasms that were very contradictory, I was never very doctrinaire in the type of design I wanted to do.
If typography is calling attention to itself, it's taking that attention away from what the words are saying.
The scientists at CERN were actually surprised that people commented on this. Reportedly Fabiola Gianotti, the coordinator of the CERN program to find the Higgs Boson, was asked why she had selected Comic Sans. She simply said, "Because I like it. "
Good typography, first, makes words readable. At its best, it does something more: it helps express the animating spirit of the ideas behind the words.
The truth about logos is that they are not that hard to do.
The Nike swash that cost $30 and was designed by a Portland State University art student was probably worth that when she first showed it to them. At that point it had no equity at all. None of the guys commissioning it particularly liked it, they all wanted the Adidas three stripes and they thought that was a good logo.
I've heard some designers talk about the design process being centred on invention, starting with a blank slate. I admire that and occasionally I'm capable of that, but I have to admit that I really have trouble working with completely open briefs.
I actually don't think that brand new logos are worth that much or mean that much in and of themselves. So why not have a class of third graders compete to design your logo?
Most processes leave out the stuff no one wants to talk about: magic, intuition and leaps of faith.
It was stone carvers in ancient Rome, scribes in the Middle Ages, all the way through Gutenberg to the present day. That's a pretty long track record. More likely we may reach a point where each one of us is a typographer with our own custom proprietary typeface.
I think once the artistic world of the type designer merged with the scientific world of the computer programmer, you began to see this crossover.
I think different designers have different points of view and different strong personalities can influence the way certain cities are perceived.
I'm not sure about my design work every time.
I actually think it almost works the other way sometimes: making a college textbook, say, look really "user friendly" tends to also make it look less "serious," even if nothing changes other than the design treatment.
A lot of times, you design a logo to be timeless, but with something like the Olympics, timelessness is maybe not something you should be going for.
For instance, I assume those "carrots" we have on our keyboards were there originally to express "greater than" and "less than. " Then they were adopted by coders, and now they show up all the time in the way email addresses are constructed. At least I think that's what happened.
I have a really shallow idea about what Australia is.
No one loves authenticity like a graphic designer. And no one is quite as good at simulating it.
I grew up in a Cleveland suburb called Parma, Ohio. Somewhere along the way I fell in love with a typeface called Bodoni. It turns out that Giambattista Bodoni had his foundry in Parma, Italy. So I pick Bodoni because us guys from Parma have to stick together.