Jacob Cass, at the prime age of just 22 has already received numerous regional, national and international design awards for his work in identity, web & graphic design. Cass has worked with the largest brands out there (Disney, Redbull & Nike just to name a few) creating visual & interactive designs across a broad range of devices. Cass’ work appears in a number of high profile design related books & websites including The Best of Logo Loungeand the Wolda Logo Design Annual, among many others. When not winning awards, Cass runs the wildly popular graphic design blog Just Creative Design which doubles as his freelance design business. Cass also runs the website Logo Designer Blog, a blog dedicated entirely to branding & logo design. Cass also runs Logo Of The Day, a high profile logo design award scheme that rewards the best professional logos and trademarks designed throughout the world.
“I am self-employed as a graphic designer, specialising in the fields of corporate identity (logo) design, web design, print design and branding with the majority of my time spent designing and implementing marketing promotions for businesses such as logos, websites, letterhead, business cards, packaging and more.” Jacob Cass
Reid Miles (4 July 1927 – 2 February 1993) was an American graphic designer and photographer.
Reid Miles was born in Chicago on 4 July 1927 but, following the Stock Market Crash and the separation of his parents, moved with his mother to Long Beach, California in 1929.
After high school Miles joined the Navy and, following his discharge, moved to Los Angeles to enrol at Chouinard Art Institute.
After working in New York in the early 1950s for John Hermansader and Esquire magazine,Miles was hired in his own right by Francis Wolff of the jazz record label Blue Note to design album covers from about 1955, when the label began releasing their recordings on 12″ LPs. Miles designed several hundred covers, frequently incorporating the session photographs of Francis Wolff and, later, his own photographs, although many of his later designs dispensed entirely with photographs. Miles wasn’t particularly interested in jazz, professing to have much more of an interest in classical music, but used the descriptions of the sessions relayed to him by producer Alfred Lion to create the artwork.
Lion’s retirement as a record producer in 1967 coincided with the end of Miles’ connection with Blue Note. “Fifty Bucks an album…they loved it, thought it was modern, they thought it went with the music…one or two colors to work with at that time and some outrageous graphics!”.
As a photographer, operated a studio in Los Angeles, California. Many of his most famous shots were elaborate montages of people and group photographs. Reminiscent of Norman Rockwell.
Saul Bass (May 8, 1920 – April 25, 1996) was a graphic designer and filmmaker, best known for his design of motion picturetitle sequences.
During his 40-year career Bass worked for some of Hollywood’s greatest filmmakers, including Alfred Hitchcock, Otto Preminger,Billy Wilder, Stanley Kubrick and Martin Scorsese. Amongst his most famous title sequences are the animated paper cut-out of a heroin addict’s arm for Preminger’s The Man with the Golden Arm, the credits racing up and down what eventually becomes a high-angle shot of the United Nations building in Hitchcock’s North by Northwest, and the disjointed text that races together and apart in Psycho.
Bass designed some of the most iconic corporate logos in North America, including the AT&T ”bell” logo in 1969, as well asAT&T’s “globe” logo in 1983 after the breakup of the Bell System. He also designed Continental Airlines’ 1968 “jetstream” logo and United Airlines’ 1974 “tulip” logo which became some of the most recognized airline industry logos of the era.
“as Christmas morning, 1990, when my 4 year old self woke up in uncontrollable excitement. I sprung out of bed with my large bright blondie head and soared down the stairs to the site of the Christmas tree. What I saw probably changed my life. It was a blue and gold Fisher Price Art Desk. I ran up to it, not really knowing what it was, thinking that maybe something worthwhile was in the drawer. As I opened it up, and saw nothing was there I felt disappointed and somewhat confused. I slammed it shut and moved right along to the other presents under the tree. As the days went by, my disappointment went away and I found myself gravitating toward that desk. I started using it for it everything. I would store coloring books and drawings I created in that drawer. Assortments of Crayon’s, markers, and pencils, were lifelong stains on the surface of that desk. Remember, I got it when I was 4 so I did most of my “artwork” at that age on top of the art desk rather than inside the coloring books. I loved that desk, and I’ll never forget how I wouldn’t have gotten to where I am today without it.
Throughout middle and high school, I enrolled in any computer classes my schools offered. I remember I even took a Visual Basic class. I found it fun, I found it easy, and even though it felt nerdy to fill up all my electives with computer classes, I didn’t care. I held my head high. When I graduated I really had no idea what I wanted to do. I went to a community college for a few semesters, weighing out my options. Over the summer, I had a long talk with my parents and they pushed me to pursue what my passion was. They asked me, with all BS aside—what did I want to do? I told them, “I want to be a graphic designer.” They replied, “then do it, we support you.” This was a big deal in my life, a breaking point if you will. For once in my life, I was able to tell my friends and family that this is what I enjoyed doing, it wasn’t just a hobby, but it was something I wanted to do for the future.
When it came to choosing a professional career following my taste of community college, selecting the right college to attend was going to be important. I checked out a few schools in the San Diego area and settled on Platt College. They became my college for the next 2 years. They promised that if I worked hard, put out working web sites and applications with the W3C’s standards that looked good visually, I would receive a Bachelor of Science Degree in Media Arts with an emphasis in Web Design. I worked hard, sometimes too hard on my projects. I was also interning for my first “real” job in the industry and never once cut corners or took the easy way out. It was too much fun and I knew that I needed to work hard if I was ever going to make it in this industry. After 2 years of grinding out all that I had for school, they came through on their end of the promise and I received my degree.
After a year of working steadily as the graphic designer for Overland Storage, I decided to pack up my stuff and move to the great city that is San Francisco. It’s always been my dream to live in a city that screams out my personality. I love the arts and the culture not to mention I’m a huge music buff and I think this is the perfect place to spend the rest of my 20s. I’m ready for my next challenge and I’ve moved here to prove it. “
Michael Bierut is a graphic designer, design critic and educator. Bierut was born in Cleveland, Ohio. He studied graphic design at the University of Cincinnati’s College of Design, Architecture, Art and Planning.
Bierut was vice president of graphic design at Vignelli Associates. Since 1990 he has been a partner in the New York office of Pentagram. Biography at Pentagram
According to his Pentagram online biography: Bierut “is responsible for leading a team of graphic designers who create identity design, environmental graphic design and editorial design solutions. He has won hundreds of design awards and his work is represented in several permanent collections including: the Museum of Modern Art and the Cooper-Hewitt, National Design Museum in New York; the Library of Congress in Washington, DC; the San Francisco Museum of Modern Art ; the Denver Art Museum; the Museum für Kunst und Gewerbe Hamburg, Germany; and the Museum für Gestaltung in Zürich, Switzerland.”
Bierut served as the national president of the American Institute of Graphic Arts (AIGA) from 1998 to 2001 and is a senior critic in graphic design at the Yale School of Art.Bierut is also the co-editor of three Looking Closer graphic design anthologies. He is also a founding writer of the Design Observer blog with Rick Poynor, William Drenttel and Jessica Helfand.
David Carson (born September 8, 1954) is an American graphic designer. He is best known for his innovative magazine design, and use of experimental typography. He was the art director for the magazine Ray Gun. Carson was perhaps the most influential graphic designer of the 1990s. In particular, his widely imitated aesthetic defined the so-called “grunge typography” era. Carson brought us a new version of type and layouts.
It’s not about knowing all the gimmicks and photo tricks. If you haven’t got the eye, no program will give it to you. David Carson
Here are some quotes I found on David Carson,
“he changed the public face of graphic design” -newsweek
“the art director of the era” creative review london
“He significantly influenced a generation to embrace typography as an expressive medium”
– steven heller 2010
Born in 1941, Wolfgang Weingart is an independent graphic designer and a very influential teacher at the Kunstgewerbeschule in Basel. Weingart started with a three-year apprenticeship with a hand-typesetter from 1958 in Stuttgart. He then traveled to Basel where he enrolled in the School of Arts and Crafts. These brief studies, under Emil Ruder and Armin Hofmann, were the extent of Weingart’s studies as he was mostly self-taught. Neither Ruder nor Hofmann was a significant stylistic influence on Weingart’s work; however, the idea of a systematic approach to learning was introduced to Weingart by Hofmann. Weingart worked as a freelance designer in Basel until Ruder’s death in 1968 when he was asked to join the faculty at Basel. Weingart’s typographic
education broke free from the traditional Swiss grid system, asymmetry, and use of text flush-left/ragged- right. When Weingart challenged these tenets which had become quite formulaic by the late 1960′s, his new approach had international impact.
Born 1914, Josef Muller-Brockmann is one of the most influential Designers to come from Switzerland. He studied Architect, Design and the History of art at the university of Zurich. He began his career as an apprentice to the designer and advertising consultant Walter Diggelman before, in 1936, establishing his own Zurich studio specialising in graphics, exhibition design and photography.
Muller-Brockmann was known for doing ‘less is more’ with his work, creating iconic pieces of this time. Muller-Brockman was author of the 1961 publications The Graphic Artist and his Design Problems, Grid Systems in Graphic Design where he advocates use of the grid for page structure, and the 1971 publications History of the Poster and A History of Visual Communication. A typographic grid is a two-dimensional structure made up of a series of intersecting vertical and horizontal axes used to structure content. The grid serves as an armature on which a designer can organize text and images in a rational, easy to absorb manner.
“The grid system is an aid, not a guarantee. It permits a number of possible uses and each designer can look for a solution appropiate to his personal style. But one must learn how to use the grid; it is an art that requires practice.” Josef Muller-Brockmann
Milton Glaser was born 1929 in New York City. He is a Graphic Designer best known for creating the ‘I Love New York’ logo, the ‘Bob Dylan’ poster and the ‘DC bullet’(1977-2005). Glaser studied at such places like High School of Music and Art and Cooper Union.
In 1954 Glaser was a founder, and president, of Push pin Studios formed with several of his Cooper Union classmates. Glaser’s work is characterized by directness, simplicity and originality. He uses any medium or style to solve the problem at hand. His style ranges wildly from primitive to avant garde in his countless book jackets, album covers, advertisements and direct mail pieces and magazine illustrations. He started his own studio, Milton Glaser, Inc, in 1974. This led to his involvement with an increasingly wide diversity of projects, ranging from the design of New York Magazine, of which he was a co-founder, to a 600-foot mural for the Federal Office Building in Indianapolis.
Over time Milton Glaser has been an inspiration for illustrators and Graphic Deisgners. Glaser even received the The National Medal of Arts during 2010. The Medal was presented by President Obama. He was the first designer to receive this honour.
“The real issue is not talent as an independent element, but talent in relationship to will, desire, and persistence. Talent without these things vanishes and even modest talent with those characteristics grows.” Milton Glaser