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- Everybody can hear me?
All right. Well, welcome.
Welcome to Penn College.
My name is Nick Stephenson.
I am one of the instructors of graphic design
here at Penn College,
and just again, wanna say thank you all for coming tonight,
what will be, I hope, a fantastic lecture.
Penny and I would just like to say thank you real quick
to those who made the show possible
and extend a special thank you
to Jon Straub and Nicole Bamonte who worked on the gallery
and did a lot of the poster hanging and painting.
They never got to see Jon's video of him painting.
That's a lot of fun.
And I also wanna send a special thank you to Nick Vetock,
who did the marketing for the NPR show,
and he designed what I think we all agree
is one hell of a poster.
And lastly, thanks to all of you for coming.
I know a lot of you came from far away,
and I appreciate you coming out here
and hearing this talk tonight and come and see our show.
So before I introduce Steven,
I do wanna remind you that
this lecture is being done in conjunction with
the National Poster Retrospecticus show in the gallery,
and I encourage you to come to the reception
directly afterwards.
According to Penny, she ordered a ton of food
and she's very worried that it won't all get eaten
and that she's gonna get stuck with it
like in a fridge or something like that
or it has to go home with her students.
So please come to the show.
Steven and Penny and I had a chance
to go over there a little bit earlier,
and obviously, the show has been up for a while,
and I think it's a really fantastic opportunity
to see some top notch poster design.
Now I'll introduce Steven.
So Steven Brower is an award winning
former creative director for Print,
and has been an art director
at The New York Times, The Nation,
coauthor and designer of Woody Guthrie Artworks,
and author of Satchmo,
The Wonderful Art and World of Louis Armstrong.
His work appears regularly in international and national
design annuals and books on design,
and he writes for several publications.
During his tenure, Print garnered
two National Magazine Awards for general excellence
and gold and silver
from the Society of Publication Designers.
His work has been honored by AIGA, ADC Global,
The American Center for Design, and the Type Directors Club.
His work is also in the permanent collection
of the Smithsonian Institute.
He is currently the director of
the Get Your Master's With the Masters MFA Program
for designers and illustrators and working professionals,
and is the illustration area coordinator
at Marywood University in Scranton, Pennsylvania.
As some of you, and myself included,
met Steven as we were enrolled
in the MFA Program at Marywood University,
actually, Steven was my first teacher there
for a eight a.m. seminar in the history of graphic design.
Which I'll tell you what.
If you can keep 30 graduate students
who've been up all night working on something
engaged in the art history and history of graphic design
in the dark, that speaks a lot to his ability
as a speaker here.
He's a passionate educator, author, and designer
who's graphic design experience is second
only to his knowledge in the field.
Please join me in welcoming Steven to Penn College.
(audience applauds)
- Okay.
Thank you.
Thank you very much.
(audience laughs)
You're not buying it?
Okay.
I actually am going to cover a fairly wide range of topics
in a very short amount of time,
but I thought I should begin with
recent work and how I got here,
and then also I think what's interesting,
because there's a lot of students here, of course,
is process to my particular process.
So what I've been doing in recent years is creating books.
And I'll go back in time as I show the books
that I've created.
And by created, I mean I write them as well as design them.
And I come up with the idea for them.
And so that means I go out to a publisher,
write a proposal, which is how it's done,
sell the idea, and produce the book myself,
send them mechanicals.
And of course, the books are edited.
And so this one came out last year.
It's Duke Ellington.
I've also been lucky, or very fortunate,
to work with families of the estates.
So in this case, I was working with
Duke Ellington's granddaughter, Mercedes.
And I just have a few spreads from there.
So there's the title page.
And this is a nice oversized, beautifully,
it's for Rizzoli, which is a fantastic publisher.
I've done three books with them.
There's the table of contents.
Oh.
So the quiz part of the program begins.
How many people know who Duke Ellington was?
Okay.
That, as I ask those questions,
there will be a test afterwards.
So there's Duke, and that's
one of the opening spreads.
And then, not that I planned on it,
but I worked on two books at the same time,
and so this actually came out the same month.
What publishers will do is
they'll move their schedule around
not to your benefit but to theirs.
I do not recommend this.
It's probably the first part of the lecture
where don't do what I did,
'cause working on two books is absolutely insane.
But the nice thing is, you wind up with a book.
I love books.
You can probably tell.
And so this was a textbook, is a textbook on art direction,
which is usually not taught other than mentioned briefly
in undergraduate classes.
And so I thought there was a need there.
This was for Bloomsbury.
There's the table of contents.
And opening spread.
And what this book is
is interviews with other people in the field.
But as Nick mentioned, I've been an art director.
I was an art director for a book publisher.
I was an art director for The Nation Magazine for 17 years.
I was a freelance art director for The New York Times.
Hated that job.
It wasn't The Times.
It was me.
It was so much pressure.
And so here's another spread from Inside Art Direction.
And I thought I'd show a dog.
Nobody is going, "Aw."
This was a fantastic project that was,
and we're going backwards chronologically,
this came out in 2014.
And this was a project by Phil Buehler,
who is a ruins photographer,
and he goes into different ruins and photographs them.
And this ruin was Greystone Park State Hospital,
which is in New Jersey.
And it's a mental hospital.
It's a really amazing story,
but first, now the second question,
how many people know who Woody Guthrie was?
Less.
Oh, good.
More people know him here than the last talk I gave,
which was out in New Mexico,
which was the panhandle where he actually lived.
So that's a good sign.
So Woody Guthrie, for those of you who don't know,
and it's fine if you don't know,
he wrote This Land is Your Land.
So then I think most people know who he was.
He was
a folk singer, a author.
He wrote plays.
But unfortunately, he had Huntington's disease.
And they didn't know exactly what it was at the time
and he was getting sicker and sicker.
And so he was picked up in New Jersey
on the side of the road by the police, acting erratically.
And he was brought to this hospital, Greystone.
And that's the hospital in the background.
That's Woody with his family.
Arlo is in there, and Nora Guthrie,
who I have worked with a lot.
Woody's wife got a call the next day
from a psychiatrist at the hospital and said,
"Your husband is here.
"We think he might be schizophrenic.
"He definitely has delusions of grandeur."
She said, "What do you mean?"
And she said, "Well, he says that he is a famous songwriter
"and he made $10,000 for one song."
This is early 1950s money.
And she said, "He is a famous songwriter."
The doctor said,
"Well, he also says he's a bestselling author."
And she said, "Well, he is a bestselling author."
Bound for Glory was a hit book that he wrote.
And so that was how she found out where he was.
Where Phil comes into this is
he went into this abandoned mental hospital,
which has since been demolished in the last couple of years,
and photographed as he did ruins.
And he found the medical room
downstairs.
It was flooded.
But there were files in there, and he took photographs.
And then he left, and then he told a friend of his.
"Is that Greystone?"
And he said, "There's a medical room."
And his friend said, "Do you know who was there?"
And he said, "No."
And he said, "Woody Guthrie."
So Phil went back and went back down to the medical room,
and this is now 2000, 2001,
Woody left there in 1954, I think.
He found Woody Guthrie's files, his medical files,
his intake photo, his exit photo,
his complete medical history.
So that's what this book is.
And then there's Satchmo.
I'll ask one more time.
Then I'll stop.
Louis Armstrong?
He's still really popular.
That pleases me.
So, this was after another Guthrie project,
which I'll get to, which was my first real book,
but this is a collection of Armstrong's collages.
And something that was little known about Louis Armstrong,
who is known and remembered as
a great musician and jazz singer,
not necessarily a visual artist,
but indeed, he did visual arts.
There's the timeline I did for the book.
And there's one of his collages in the beginning.
Now, one thing you'll notice
with the type on top, the chapter headline,
and you'll see it under, it says, "Satchmo,"
I created that typeface because I couldn't find a face,
unlike Guthrie, who I'll get to again,
I couldn't find a face that he created.
He did some handwriting, but not a lot,
so that's actually cut out of paper.
I'll come back to that in a moment.
But here's some of those spreads.
Okay.
So then, this came out this year with Ray Cruz,
who's a wonderful typographer
and who teaches in the Marywood grad program,
the Get Your Master's Program.
I designed Satchmo, which is this face.
And it is available on MyFonts.com
And you can see it there.
So the way that came about is I actually designed it
for a album by Fishbone in the mid '90s,
the group Fishbone.
And it was rejected.
And the way I did the cover is I cut the type out of paper.
I didn't base it on anything.
I just grabbed an X-ACTO knife.
I wanted it to have a rough hewn
look to it.
And then they rejected it, and then I put it in a drawer.
And there it stayed.
What year is this?
'04, over 10 years.
Or almost 10 years, until the Satchmo book happened,
and then I remembered I had that face
and I wanted this rough hewn looking face.
And so I brought it out and I had to add more letters
and designed a type face.
And then I went to Ray Cruz because this is what he does,
and I asked him if he wanted to work on a face with me,
and he did.
The difference between me and Ray is
Ray is mathematically correct
and everything has to be perfect,
and I'm completely intuitive.
And I just cut this out of paper, never thinking about
what it really looked like
other than immediately for the titles.
And so I just ...
We worked together.
I had to create all the characters.
I didn't cut the rest out of paper.
Somebody told me, "You could draw them," and so I drew them.
He fixed everything.
It drove him completely insane,
'cause every character is different.
And some are uppercase and some are lowercase,
and they're uneven, and that's the purpose of the font,
but it drove him completely nuts.
And if you're interested in type design,
I know many of the students here
are probably designing your own type, you can sell them.
And to date, this came out,
oh, in the spring, I think.
It might've even been the end of last year.
And today, I've made about $25 royalty.
(audience laughs)
You don't get rich doing that.
So as we're going through,
you can see I'm able to create projects
out of my own personal interests.
And then, also, some things, I don't know that much about,
but I really want to learn, and I love research.
And so the Satchmo book was actually brought to me
by the editor of, I keep alluding to Woody Guthrie Artworks,
which we'll get to, as a project.
The collages were housed out in Queens College.
I knew, like you, I knew who Louis Armstrong was,
but I didn't know a lot about him.
And so then that's where the work kicked in
'cause I had to educate myself.
And I fell in love with him and his music.
And I highly recommend Louis Armstrong
if you don't listen to him already.
This was sort of a challenge to myself.
It's turned into a project at the grad level
where I believe if you follow your own interests,
there's enough other people interested.
This book literally was the result
of my walking into a Comic Con at Scranton,
walking up to the first table because I was really sick,
I had like a 104 temperature
and I had to teach the next morning.
So I was there.
And I walked in and I walked over to the first table,
and the first table, the first box,
was coverless comics.
And I said, "How much do you want for all of them?"
And he looked.
He said, "60 bucks."
I said, "Okay," and I paid him 60 bucks.
And then I'm walking out and I'm feverish.
I'm thinking, "How am I going to explain to my wife
"I just spent 60 bucks on all these coverless comics?"
And then I turned it into a book and sold it to a publisher
and was paid nicely for it, so there you go.
My interests may not be your interests,
but you know what your interests are.
This, too.
This was actually an experiment.
It's a POD book, print on demand book,
which a couple of years ago, I guess about five years now,
I just wanted to see what all the fuss was
compared to going to a publisher.
'Cause publishers, if you don't know,
they make most of the money.
You do make money, and you make royalties,
but they take risk and they make the money.
So here I was, the publisher with Jim Simon,
and I think we've made maybe $218 to date on this.
So an experiment that maybe failed.
For all the professors in here
or those of you who want to teach,
here's where the money is, textbooks.
If you want to do a book,
you will not get paid so much up front, but get royalties.
I highly recommend doing textbooks.
And this was actually the first book idea I had,
which is a history,
and I'll show you some of the interior pages,
of paperbacks, mass market paperbacks,
and that's because I began my career
designing mass market paperback covers.
Not this old, but in the '80s.
I had this idea and took 14 years to get this one published.
And by the way, all faux looking aged paper.
I was really happy with this book.
This was also Rizzoli.
And then I also did a biography
of a forgotten comic book artist, Mort Meskin,
who was really important during the golden age,
but he also had psychological problems.
And I found his story intriguing.
And so I contacted Peter Meskin, his son, and Philip,
but it was really Peter and I
who worked on the book together,
and here are some pages from there.
And that's actually a spread from the book
that looks like a pulp magazine,
so it takes up the entire spread.
And that looks like the comic.
Look at the design.
They were more adventurous back then.
Well, now they've gotten a little bit more adventurous.
For a long time, it just became panel, panel.
And then we get to Woody Guthrie Artworks.
So Woody Guthrie Artworks was the first real book,
I'm qualifying that, you'll see why in a moment,
but this is the first real book that I sold to a publisher
and designed and wrote,
again, working with the estate, working with Nora Guthrie,
who is Woody's daughter.
And Woody Guthrie actually could've been an illustrator,
as you can see from this cover.
And that's his signature.
That, Artworks, that's his handwriting, as well.
It was in one of his sketchbooks.
And he did illustrate that book I mentioned
which was a bestseller, Bound for Glory.
And there you can see some more of his illustration work.
And he worked as a cartoonist.
He worked for The Daily Worker newspaper,
and he had a column called Woody Says.
He also worked as a sign painter
as he made his way across the country.
He would write these journals, his very personal journals,
and then he would either paint on top of them
or he would paint first and then write on top.
I wasn't really sure.
But this is another spread from this book.
So this is a book that introduced Woody
to the world as a visual artist.
And then some freelance work.
And so I work a lot with
the Woody Guthrie Foundation and publication
with Nora and her daughter, Woody's granddaughter, Anna.
In 1970, Milton Glaser put out
a book entitled Graphic Design,
which I recommend to everyone.
It was the first time I ever heard that term.
It was always called commercial art before then.
But in the book, he says he only works with people he likes.
And so 1970 me looked at that and thought,
"Man, what are you talking about?
"You gotta work with anybody you can work with
"and make a living."
And I wasn't even in the field yet.
But I thought, at best that was an unrealistic expectation.
I now understand that, and so I, other than doing books,
I'm very selective who I work with freelance,
and certainly the Guthries are one of them,
so you can see I've done a bunch of stuff there.
That was last year.
Okay.
Provocation.
So when I thought about the poster exhibit here,
which is beautiful, and you guys are so lucky,
it's really, really wonderful,
but there's been a lot going on in the world, and
posters can be very provocative.
Graphic design can be very provocative.
And so I wanted to talk about that.
And then I'll lighten it up with parody.
But after Charlottesville a couple of weeks ago
and after President Trump's statements
or statements he didn't make,
Robin Landa, who is the author of Graphic Design Solutions,
do you guys know that book?
Do you use that book?
(Nick speaking off mic)
Yeah.
She's a very well known design author.
She called for designers to flood
social media with protest posters.
And so here was mine.
And as you might imagine,
I got quite a reaction.
I followed it up with an article
of a collection of different protest posters
by different people for print.
I got a lot of hate mail.
But putting this together and really thinking about this,
one of the things, one person was very upset,
and I said to him, and I usually don't discuss concept,
but this is so loaded, I said,
"I said it's a question mark, not an equals sign."
And that was my intention.
But then, researching this
and with hindsight is 20/20,
there was this.
And so it was really interesting for me.
This was done not by me, it was John Gall,
but it was part of a poster collective
that James Victore formed in the early '90s.
And it was me, and it was James, and it was John Gall,
who's now the creative director at Abrams Publishing.
Also teaches in the program.
Second plug.
And he did, John Gall, designed this poster, 1992.
And so,
was George Senior anything like Hitler?
No.
But it was a question.
And then here is James Victore's.
You guys know James Victore?
Okay.
You should all look up his work.
Talk about provocation.
That was one of the slogans
that was floating around at the time,
was traditional family values by Bush in '92.
And so this was James's take.
This was my poster.
And so this, again, I guess it raises a question.
This was a baby bottle poster as it's called.
And it was really,
I guess it's sort of obvious,
but in the corner there's a warning sticker
and it says, "Extended exposure can cause racism."
And so all those terms on,
on a baby bottle.
Those posters were all hung up all over Manhattan.
And this was another controversial one I did.
This was by Darius James, who's an African American author.
The book is about a young teenage girl
from a wealthy white family who takes a hallucinogen
and falls under the spell of Voodoo.
And she says everybody as a racial stereotype.
And so the book is really wild, and it's very powerful.
And that's my illustration.
That's where my cover came from.
This landed me,
I think for the second time in The New York Times
not working there, that was years later,
but an article on the cover because there were older people
who worked for the company, the publishing company,
it was Lyle Stuart was the,
or maybe it was Carol Publishing by then, it was,
who were very offended.
And so it became newsworthy.
And this is a much longer article
that appeared back in The New York Times.
What I learned from this, though,
is that all publicity is good publicity,
and you'll see another example of that.
This was a poster I did
for a talk that I gave back in 2004 at Kean University,
and it was their first Thinking Creatively conference.
We did A Exquisite Corpse, which I actually,
which I'm embarrassed to say
but I'll admit I didn't even know
what the term meant at the time.
And what it means, and maybe many of you have done this,
I thought my dad invented this.
You draw one picture of a head,
you fold it over, and then you draw the neck line,
and then the next person draws
the shoulders without seeing the head,
and then the next person draws the midsection,
and then the next person draws the legs and feet.
And so that's me up there on top with a Groucho fixation,
Milton Glaser with an angel's fixation,
Mirko Ilic, no comment, and Luba Lukova.
And so we did exactly that.
We all created this character
without knowing what the other one was doing.
And so my talk was all about
collaboration in the field.
But also, it was Milton who said,
"What you're talking about is an exquisite corpse,"
and so the copy up there says,
"The only time Dada and Daddy came together."
And it's a little tribute to my father,
who I thought invented this.
And then some kids' posters to lighten the mood.
That's all made out of hand and chalk
and little railroad figures.
Shakespeare poster.
In 2004, I was asked to be part of the Punked exhibit.
It was very similar to the exhibit that's here now,
the NPR exhibit.
24 of us were asked to illustrate,
do posters of punctuation marks,
and then they were silkscreened.
That is mine.
Who wants to guess what it is?
Yes.
- [Man In Audience] Back slash?
- Yep, that's exactly what it is.
And I had a picture of Slash the guitarist for an alternate,
but I thought that was too obvious.
And this was a poster for the Brno Bienniale.
We actually faxed the images
and then they blew the up to poster size.
And so I did world peace as a theme.
And then here's my poster for my talk tonight.
And so if any of you get to give a talk,
always ask if you can do a poster.
And 90% of the time, you're told yes,
and then you get another poster out of it.
And so that's exactly what I did here.
So thank you, Nick, for this. (laughs)
And then I did it the wrong size,
and he was very, very polite about it,
and then I had to beg for a new size.
That's the other thing you should know.
You can ask, or beg. (laughs)
And so going back, this was a poster.
I had a solo exhibit of my work back in 2011.
I just thought it was funny,
one, that I was having this exhibit,
it was out in California, and so,
"My quest for world domination is nearly complete."
And then the year after, I had another exhibit,
which was at Monmouth University.
This was a talk between John Gall and I
out at Penn State a while ago,
or Millersville University.
I take it back.
Again, we designed this
without knowing what the other one was doing
and we split it down the middle and just put it together.
And I came up with the name, which was Spineless,
because we were talking primarily about books.
And Marywood talk.
And then Thinking Creatively.
After I gave the keynote, I taught there
and designed all their Thinking Creatively posters.
I'm speeding up.
How am I doing on time, Nick?
- [Nick] 6:10 right now, so you're okay.
- Okay.
So like quarter after?
I gotta start moving, folks. (laughs)
Parody.
Okay, so ...
My generation and every one since
has been affected by Mad Magazine.
I think they changed the way we view the world,
and they came out, I don't know what year this was.
I'm sure this is before my time.
But it's a parody of Life Magazine,
which used to look exactly like that,
and they would have a beautiful model on the cover,
and so that's the parody.
Basil Wolverton is the artist here.
And so it was just this sense
of not to take things too seriously.
And then I was asked in 1992 to
do the cover for Print's parody issue.
It was the second one they had done.
The other one was in 1985.
And this was a popular image for Benetton.
And the photographer,
creative director was Oliviero Toscani.
And it was also on the cover of Communication Arts,
which was a direct competitor to Print.
And so I thought it would be funny
to make fun of that cover.
This image, this cover,
up until that point,
got a record number of cancellation subscriptions to Print.
So they weren't extremely happy with it.
This was The Nation and about family dynasties.
I guess it ended with Jeb.
Walt Disney was not such a nice guy.
These were all my illustrations, by the way.
And so sometimes parody is just humor.
This, okay, so this was one of the first covers I did
when I became an art director back in 1987.
And this is actually a photograph.
It's a model built out styrofoam and lead.
The photographer and model builder was Dennis Potokar.
And the book was about Fox, 20th Century Fox,
and so I came up with this concept and we did this.
And 20th Century Fox sued Carol Publishing,
the publisher.
And that wound up in the newspaper.
And that was the first time,
so it's like '87 and all of a sudden
I'm being written about in The New York Times.
I was like, "This is pretty good."
It was working for me.
We had to settle out of court for one dollar.
They didn't care about the cover.
They cared about the book.
And so it really wasn't the cover that was the concern.
However, you have to be careful,
'cause this a trademarked image,
and that's really why I'm showing it,
is you can do a parody and it's legal to do so,
but it's complicated, too.
And so you have to be very careful.
Process.
Okay, this was hanging up in my boyhood bedroom.
My dad brought it home from the subway.
It was a subway poster by Milton Glaser,
one of my early influences, along with Woody Guthrie,
and
this guy, Jack Kirby.
I will ask one more time.
How many people know who Jack Kirby was?
Oh, good.
Everybody else, that's your homework.
You have to go home and research Jack Kirby.
Jack Kirby was the artist and writer
for the Marvel Universe,
not that other guy who you hear about.
And if you don't believe me, just look it up.
When I was 10, 11, 12, he really was the one
who made me want to be an artist.
This is actually my inking a pencil and collaging
a Jack Kirby piece of art.
Oh, I thought I had ...
I guess I didn't include, I thought I had more of him.
Back to Milton Glaser.
Oh, okay, here it comes.
Okay, so back to Milton Glaser.
One of the most famous images in graphic design,
speaking of posters, his Bob Dylan poster.
Which was given in the Greatest Hits album in 1968.
There we go.
And there's Jack Kirby
and all his Marvel creations flying off his drawing board.
And so that's how I arrived at that,
which celebrated Kirby's 95th birthday.
This year is his 100th, centennial.
And then, again, the Milton Glaser influence.
Used when appropriate, right?
The Psychedelic Reader.
This, Sylvia,
I'm gonna go really fast,
but this is a mystery novel about this woman
whose fiance is a rich businessmen
and hires a detective to look into her past,
and she had a tawdry past, thus the blacked out eyes.
Hedy Lamarr was my model.
And then also Mexican movie posters,
'cause a great part of the story takes place in Mexico.
And then there, you see.
That's how they used to censor
so you wouldn't know the identity of someone
back in the '50s.
That's how this cover would look today.
The Nation cover,
The Torture Complex.
I was sent, and you'll see the photograph,
it was an article around the time of Abu Ghraib
on what was happening during the Iraq War,
but it looked awful familiar,
and so I based it on Ben Shahn's anti-Nazi poster.
There is one of the photographs I was sent by The Nation.
Oh, and then this, and we are getting towards the end,
'cause I do wanna leave time for questions.
Just because
I've done 12 books now in 12 years,
or coming up on 12, and I've been working a really long time
doesn't mean I get to do whatever I want.
And so usually with covers, you have to go through this.
And then through this.
Then what happens is the publisher says,
"Well, you have to include our logo and our new design."
While I'm working on the book,
they're redesigning their brand,
so I have to incorporate that.
Very proud of that chair.
I did that in Illustrator.
I think it's the second thing I've ever done in Illustrator.
And still, here's where we wound up, which is fine.
It's not my favorite, but it's fine.
Okay, and then real quick, Print covers.
Actual henna photographed on a back, a model.
After this came out, I was asked several times
if I could include it in books on Photoshop.
There is no Photoshop.
(Steven mumbles)
This is when Bill Clinton was in office
and the economy was booming.
And I thought it was really funny to do the sandwich board
of like a Depression era photograph
of what's in the issue about the economy.
It's not so funny anymore.
Sorry.
I may end here, but this,
it was just this week,
this issue was due to go out 9/11, 2001,
and I had a completely different cover.
That was a Tuesday, right?
And then 9/11 happened.
We were all in the office.
We all made it in, and then attempted to get home.
It took me five hours to get back to New Jersey.
And then Wednesday, we all stayed home.
Mayor Giuliani told everybody, "Stay home."
And then Thursday we met again.
And we didn't even have to say anything.
We all knew that, the managing editor and I,
that we had to change the cover and we had to do something
to commemorate what was happening.
And so I used, again, Milton Glaser,
that's his heart from I Love New York,
and my thinking is that the cracked heart
begins where the World Trade Center would be
if that was Manhattan.
And that was sent out that day.
A Regional cover.
And I just thought it would be funny not to show design
but to show how harried the editor is
trying to get everything done for the Regional,
which, at the time, was an overwhelming task.
Some more pages.
I'm gonna take a drink of water.
Oh, and then this sex issue.
This actually was my idea, but it was a joke,
we had a student cover competition,
and somebody sent in something
that was sort of obscene for the cover,
and I said, "We'll save that for the sex issue."
And then that sort of festered and it became a real thing.
And I was able to get them to, and we had new management,
and I thought, "Oh, man, they're never gonna go for this,"
but we had an actual brown paper wrapper,
and I had a rubber stamp made that said,
"Graphic content," stamped on the outside.
So this how you would buy Playboy in 1950s
with the brown paper wrapper wrapped around it.
And so this was my last issue for Print.
I left in 2004 as the creative director.
And this by far got the most number
of subscription cancellations and angry letters,
and so I was really pleased with myself,
'cause I went out the same way I came in.
(audience laughs)
And I'll just show you some more covers.
That's Scenario Magazine.
Oxymoron, which I worked on
with Seymour Chwast from Push Pin.
This is my logo for Oxymoron.
It's a visual oxymoron.
And then some spreads.
So you can see I'm pushing it.
And then, as I mentioned,
I was the art director for The Nation for 17 years,
and I was the art director, designer
for The New Republic for two issues.
It doesn't always go the way you think it will.
And then I'll just scroll through some book covers.
I love Orson Wells, and he's one of my favorite directors,
but he's actually there
because he's sitting on top of Gene Siskel.
(audience laughs)
That was a recent one,
and that is really old but still works.
And then I'm almost at the end.
So op ed.
I used to get calls,
this is back in the '90s when I went out on my own,
I would be in my studio,
and I'd get a call from
the art director of The New York Times,
and, "Do you wanna do an op ed piece?"
And it was always right around lunch.
It was always like 12 o'clock I'd get the call.
"When do you need it?"
"By one o'clock."
And so you work really fast.
This was on the bombing in Atlanta
at the Olympics years ago.
And so I did a bunch of these over the years.
That was about the subway map being confusing.
And they were fun to do.
This one paid $75.
I think the main page paid $300.
And I kept doing them.
This was about, it's an obvious one, but Freud and hypnosis.
Eventually, I began to want lunch
more than I wanted to be in The Times.
What I found out, and this is another life lesson for you,
say no once, that's it.
I was never asked again.
Okay, and some logos.
Helping Hands for the United Jewish Appeal.
Fox Rock for a publisher.
And then we're going to end with Woody Guthrie once again.
His centennial was 2012.
And so I did this for publications but also the website,
but I thought for the website it would be fun
to sort of animate his art on top of the logo,
so the logo would change constantly.
It was never the same.
And thank you.
(audience applauds)
Okay.
Questions?
Yes.
- [Man In Audience] So you did a lot of controversial work.
Have you ever regretted anything you've done?
- That's a great question.
In life, yes.
In design, no.
(audience laughs)
I don't think so.
Because going back to the Trump one,
which I'm sure not everybody in this room is so happy about,
or in the greater world definitely not.
I got a lot of negative
response to that.
But again, it's a question mark.
I really don't think I have.
You know, Negrophobia, you know what I did regret?
I regretted that the older employees were upset,
even though the author and I knew
the cover was the right cover.
And so, yes and no, I guess.
Anyone else?
Questions?
Yes.
- I'm sorry.
Say it a little louder.
- Okay.
I went to the High School of Music and Art for art.
I then went to the school--
- [Man In Audience] Microphone.
- Oh, oh, sorry.
- [Woman In Audience] Could you repeat the question?
- Yes.
She asked how I got started as a designer.
And of course, there's a short answer and a long answer.
I'll give you the long answer.
I'll shorten it up a bit.
It took me a long time to get to design.
I was actually in my early 30s
when I finally got my BA in graphic design.
I was interested in other things,
including music, which I did for many years.
But the real way I got started,
I started working then,
but I really think my career began
at that mass market book publisher in 1986 in Manhattan.
And that was just luck of the draw.
I brought portfolios, were like this big back then.
And you'd bring this giant thing in and drop it off.
And I dropped it off
and immediately got a call back and was hired,
which was wonderful, 'cause it was a terrible portfolio.
(audience laughs)
That I regret.
(audience laughs)
Question?
Yes.
- [Man In Audience] So, most of us
who have been designers, art directors, and all that,
we waited with baited breath every month
to get Print and CA.
And it was like, pored over them.
They were so different,
and you're very connected with Print.
What caused those two to be so,
and we loved them both, but they were so different.
- I can tell you about Print.
So when I was undergrad,
I began collecting older Print magazines.
And they kept older and older.
I'd find an older issue.
So I'd look back.
This is in the '80s.
I'd look back in the '70s, and there would be three names.
It was Marty Fox, Andy Kner, and Carol Stevens.
Marty Fox was the managing editor, or the editor in chief,
Carol was managing editor,
and Andy Kner was the art director.
And then I'd find an issue from 1965,
and the three of them would be there.
And this was like the late '80s now, or mid '80s.
I was like, "How long have these people been?"
And you would go back to 1960,
and then Marty was there in the late '50s.
It was like, "My god."
Those three are the reason Print was what it once was.
It was their vision.
It was definitely Marty's vision.
Marty had a philosophy that design is about culture
and it's not just about aesthetics.
And that's what they wrote about it.
I can't really speak to Comm Art.
It's a wonderful magazine.
I know exactly what you're talking about.
But that's the answer about Print.
And then Andy, unfortunately, Andy passed away last year.
But he retired in, I should know because I replaced him,
in 1999 I took over when he retired,
and then Marty retired,
it's been a while,
at least five or six years ago, more.
Other questions?
I think we have like five minutes left.
No?
Okay, great.
Thank you very much.
(audience applauds)
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