trigger looks at what graphic designers create from their
own interests, concerns and inspirations when they work
without clients—when the designer is the trigger. These
projects demonstrate a range of possible modes for graphic designers: personal, political, artistic, entrepreneurial,
curatorial and hypothetical. Within this wide divergence of
self-initiated work, each piece demonstrates a designer’s
approach, and/or process and/or form. There is a concern
with language, symbols and information throughout these
works. And the subject matter with which these designers
chose to engage tends to be more public than private: from
the American war in Iraq to free speech to the political
dominance of corporate leaders.
“In the service of commerce” describes how graphic design
most often operates, but doesn’t define what it is. By looking at what graphic designers develop on their own steam,
trigger reveals something about the essential nature of
design. The exhibit celebrates this uncommissioned work,
hoping to broaden the rubric of design to include it.
—Jacqueline Thaw
trigger
projects initiated
by graphic designers
Center Gallery
Fordham University at Lincoln Center
113 West 60th Street, New York NY
Tel 212.636.6303
December 14, 2005 to February 3, 2006
Reception Wednesday January 18, 6:00 to 8:00pm
Gallery hours: Monday through Friday
10:00am to 8:00pm
Curated by Jacqueline Thaw
Lets Stop Now!
David Reinfurt & Stewart Smith
Screensaver, dimensions variable; 2005
Let’s Stop Now! is a screensaver program designed and programmed by
O-R-G. The custom software tracks
the path of the sun across the sky
from sunrise to sunset. Using the
current latitude measurement from
your computer and The Equation
of Time (an astronomical construct) to calculate the sunrise
and sunset times for a specific date and location, the graphic
changes from an abstracted sun to a moon coincidentally with
the conditions outside. As the screensaver dims and shifts to
a moon, it provides a gentle reminder: It is time to go home,
maybe cook some dinner or go for a drink.
1,000 lives and 1,000 lives, again
Thomas Starr
Offset printing on newsprint; 6.3 x 14 inches and
5.75 x 11.5 inches, both on 12.5 x 22 inch page;
2004 and 2005
These visual opinions for the Boston
Globe’s Op-Ed page attempt to communicate what words cannot. In September 2004, with close to 1,000 American
deaths in Iraq, something was missing
from the discussion. Because photographs of military coffins are banned
by the Bush Administration, there is no
visual component of the death toll. This
design adopts the simplicity of 18thcentury military imagery to confront issues of representation
and quantity.
In September 2005, as the total of 2,000 deaths approached,
what was surprising was how much more quickly the second
1,000 military deaths occurred. Ribbon and coffin imagery contrast support for the troops still alive with mourning for those
that are not, in order to expose the tragedy of blind allegiance.
neighborhoods, the circulating bus communicates the epidemic
of urban violence to the entire city rather than relegating the
message to certain neighborhoods. Applied to the exterior of
a single bus, and through route rotation every two weeks, the
message will reach the entire city in 15 months.
Conceived to represent the 20-year epidemic of violence
among Boston youths that was subsiding in the late 1990s, the
project has relevance to current events. A new cycle of violence
marked 2005 with the highest number of killings in 10 years.
Funded by a grant from the National Endowment for the Arts.
Small Roar
Weikert Design
Silkcreen on cotton baby clothes; 2004
Small Roar is the fusion of graphic design,
free speech, and baby clothes. Using the
graphic t-shirt as an inexpensive way to make
a visual statement, Small Roar gives babies
and their parents a voice. Mike Weikert developed Small Roar as his graduate thesis
project at Maryland Institute College of Art
(MICA) and with wife Stephannie brought it to the marketplace.
The products can be found on www.smallroar.com as well as in
several children’s boutiques in Baltimore, MD. Each garment is
100% cotton, sweatshop-free and American-made.
Celebration
Forest Young
9-second video
The drive for my self-initiated work is to see the world
of signs as one that can be
continually reinvented. Celebration is an ongoing series
of street performances. The
cold and “universal” symbol
signifying “don’t walk” is
transformed through the celebratory act of hi-fiving. A shift
in perception is precipitated by an intervention—a tactic that
makes it impossible to see a symbol or space in the same way.
Millennium Memorial: Remembering
Boston’s Children 1980–2005
Nuclear Reaction
Thomas Starr
Abby GOLDSTEIn
3M Scotchprint on bus exterior, 40 x 10.5 feet; 2005
This is a memorial to Boston
children born in the 20th century
who—because their lives were
ended before their 21st birthday—will not become adults in
the 21st century. Through statements about classmates, friends,
and relatives who have been
killed, the memorial focuses on the point of view of peer and
sibling-survivors.
Buses provide mobility to the city’s children, and the use of
a public transit vehicle is integral to the memorial’s message.
The memorial reappropriates for public service these mobile
billboards, now commonly used for commercial advertising.
While 85% of all violent crimes occur in just three of Boston’s 13
Gouache, charcoal and pencil on paper, 30 X 22
inches; 2003/2004
The practice of listening to the news
on the radio as I work and my need to
take copious notes to retain information are the sources for my text. The
text in Nuclear Reaction is garnered
from a series of discussions, commentaries and debates about the war
in Iraq played on the radio station,
WNYC over a period of time in 2003
and 2004.
The nature of my imagery comes
from an objective to both define boundaries and remain suggestive. The sack-like shapes are composed of a multitude of
drawn marks that twist, meander, stretch and interweave with
text across and through the picture plane. For me, these shapes
take on the appearance of woven, torn and repaired containers.
They become metaphors for our innate and often wayward disposition to violently react, contain, control, and rebuild.
tions between object and place, significance and meaning, temporality and permanence. The final culmination of the project
will be both a screen-based collection of photographs and a
bound book. New York City T-Shirt
All The News That Fits
Stefan Sagmeister, concept
Paula Scher
Julia Fuchs, design
Intaglio, hand colored, 22.5 x 28 inches each; 2004
These works reproduce news headlines from January 2001 through August 2003. Scher writes, “I’ve noticed
that the tone and tenor of the news
sounds pretty much the same, regardless of what’s going on. There is
never any negative space in the news.
It always expands to fill its given format. Stories repeat in a background
hum to fill dead air. If news stories
are new and serious, the hum gets
louder and more specific as bigger stories crowd out smaller
stories. But the formats are always the same …. After 9/11 the
news abruptly switched from a background of sex to a background of terror, without missing a beat.” The series of 8 drawings appeared in the Jan/Feb 2004 issue of Print Magazine.
photo on card c 1974 Bob Gruen/Fotofolio
Silkscreen on cotton shirt; January 2003
The typography on this shirt has been redrawn
to resemble, folds and perspective and all, the
type exactly as it appears on that famous John
Lennon picture by Bob Gruen. A subtle peace
message from New York, sent out on the brink
of the Iraq war.
I Love New York
John Emerson
Silkscreen on T-shirt; 2004
Two T-shirts were designed and distributed as
part of the demonstrations against the 2004
Republican National Convention being held in
New York City. The designs were originally created for the “No RNC” poster project and were
made available on the Web for free download.
Stand By
Brian Janusiak & Elizabeth Beer
In the House
Dan Michaelson
Programming: Dan Michaelson & Mat Laibowitz
Concrete, powder-coated steel post, aluminum post
cap, antenna, LED sign, steel armature, listening
cup, software, 18 x 18 x 108 inches; 2002, 2005
In the House is part of the United Air
Project, our proposal for a series of
repeater towers that force networks
without geographical relevance to
touch down at fixed points on the
earth. This tower rebroadcasts realtime searches gleaned from a popular
peer-to-peer music-and-file sharing network called Gnutella.
In the House displays these queries unfiltered and speaks them
to its own beat, a clockwork wiretap for airspace that is neither
public nor private.
This is a Vinyl Sticker, Peel Here
Allan Espiritu (& various strangers)
Digital print on adhesive vinyl; 2004
Participants are asked to place a vinyl
sticker anywhere they like and to document their choice via a photograph
that is uploaded onto a website. The
viewer becomes an active participant
in the process of creating something
outside the confines of the white walls
of a gallery space. The action of placing
the sticker is what, instead, becomes
the genesis of meaning. The work
creates visual and contextual connec-
Nylon, 45.25 x 62.5 inches; 2005
Created for a traveling exhibition of artists’ flags that began in Estonia, Stand By
depicts the SMPTE television test pattern
used in many countries. Its conflation of
these TV color bars and statehood wryly
comments on the role of television as a
means of social calibration, a mode of
social formation whose ubiquity supplants other nationalist, political, ethnic,
and cultural alliances.
Worcester MA
Gerry Beegan
Digital print, wood, paint, each shelf 11 ½ x 24 x 9
inches; 2001
Worcester MA consists of the band list from an advertisement
for a Metal and Hardcore Festival in
Worcester in February 2000. I mapped
the names of the bands onto the spines
of books on my bookshelves, retaining
the typefaces, colors, sizes and positions of the books. My ordering of experience through the purchase and display of the books, the ordering of the
books’ appearance as designed objects,
the naming of the bands and their ordering in the ad are all merged. The piece explores the ephemeral nature of the advertisement and the Festival as against
the less transitory books. Worcester MA takes on an apparent
greater permanence, removed from the changing worlds of entertainment and design into the realm of art.
MetaPolitics
Edvin Yegir
Series of 6” x 4.25” digital illustrations; 2005
These typographic commentaries are to be distributed via
the internet and also made
available for publication to the
mainstream and alternative
press. Given that I am a transplant, and a hybrid, in political and cultural terms—born in Iran and raised in Europe
and the States—I see myself standing on the margins of the
political. I am especially engaged with political events in
the United States that influence the so-called Middle East. I
observe the moments in which the state reveals its political self, its power and its repressive dimension—as at the
present moment when an illegal and unjustified U.S. invasion and occupation of the sovereign states of Iraq and Afghanistan continue. These political events manifest and assign a visible measure to the excessive power of the state
that nominates itself as the most powerful and enlightened
democracy in the free world.
19 Projects, 14 Years
position as colonists, the Circle’s
explicit mission was beautification
while their implicit intent was to raise
property values and to encourage immigration of the appropriate social
and ethnic class. These billboards
are a response to the Circles’ efforts
to plant an urban paradise and to decommercialize the city—a naturally
commercial environment. Each billboard or billposter features either indigenous or alien plants,
as metaphors for colonization and immigration, and as an ironic
beautification method in the fashion of the Outdoor Circle.
Speck
Peter Buchanan Smith
Book, 8.8 x 8 inches; 2001.
Speck is a visual collection of collections. The book is the result of my
Masters thesis in design at The School
of Visual Arts. Maira Kalman was my
thesis advisor. Princeton Architectural
Press eventually published it.
Class Action
Suggestion
Founded in 1992; panel describes various projects
Class Action is a graphic design
collective that creates visual messages to advocate change in our
society. The group’s goal is to influence the way issues—such as AIDS,
reproductive rights, domestic violence and gun control—are understood and to motivate audiences to participate in civic dialogue. Working as a group, Class
Action initiates, researches, writes, designs and publishes and/
or distributes its own projects.
Illegal Art / Michael McDevitt & Otis Kriegel
Worldstudio Foundation
David Sterling & Mark Randall
Founded 1993; panel describes various projects
Worldstudio Foundation runs a number of innovative programs linking the
creative professions and social change:
scholarships enable economically disadvantaged students of art, architecture and design to pursue their studies;
mentoring nurtures self-expression
and develops creativity in underserved
youth, by pairing them with professionals to produce visual projects; publications enlighten and inspire the design community.
Nothing But Flowers
Stuart Henley
Originally 35mm slide presentation; 1999
Nothing But Flowers is a proposal to place billboards and billposters in downtown Honolulu; it was designed as a presentation to and critique of the Outdoor Circle, a powerful Honolulubased civic beautification lobbying group that outlawed public
advertising in Hawaii. From the founding members’ privileged
Cardboard, paint, stencil lettering, 18 x 18 x 18
inches; first box created 2002
Hey, would you like to make a suggestion? With that simple question and an enormous white box,
Illegal Art canvassed the five boroughs of New York City, collecting
suggestions from passersby of every stripe—young, old, filthy rich,
homeless, mouthy, and shy. Some
people held the Suggestion Box
prisoner while they wrote suggestion after suggestion. Others
ignored The Box, but then came scrambling back with a sudden
idea. With over 300 handwritten suggestions straight from the
streets of NYC, Suggestion is by turns hilarious, cryptic, inflammatory, and heartwarming. It’s a testament to the public’s innermost desire—whether it’s free beer, free day care, or free
pumpkin pie every Thursday. The suggestions are compiled in
a book published by Chronicle Books.
Catalog
Carin Goldberg
White vinyl and cardboard cover with aluminum
stamped label, 7.25 X9.25 inches; 2001
As a graphic designer always on the lookout for useful images, I
acquired a 1951–1952 mail-order catalog at a flea market. This
densely packed tome of yellowing pages became more than a
visual resource as I focused in on the pristine presentation of
the objects of daily life. My selection of some sixty products from
this volume of thousands prompted me to wonder about the
objects themselves, how they are presented, what they meant
then and now. I was not attracted by the nostalgia evoked by
the visions of this past era. The images presented are pure
forms, minimally decorative,
juxtaposed to suggest further
associations and ideas. A whole
page of lady’s slips, overlapping to
maximize the number on the page
is a shopping medium. A single one of
these garments, isolated from the rest,
is a mysterious image, sculptural and alluring even as it is unassuming.
Please Post, issues 1 and 2
Paul Sahre
Offset printing, variable sizes;
2004
Please Post is a free, theme-based, semiannual publication which encourages the
public posting of a series of eight posters.
Sahre served as editor as well as designer
of the issues.
Rebellion Acceptance Overdrive: CalArts Type Design
1988-2001
save a map of connections complete with their annotations and
email links to these maps to others. They Rule is a starting point
for research about these powerful individuals and corporations,
and raises larger questions about the structure of our society
and for whose benefit it is run.
Homeland Security Blanket
Brian Janusiak
100% fine Italian merino wool, 36 x 48 inches; 2004
The Homeland Security Blanket
was created as a reaction to the
Homeland Security color alert system. In addition, the project is an
exploration of a way of designing
objects that are at once functional
as aesthetic objects, information
archives, and/or containers for commentary. By approaching it
in this way, the user is allowed to interact and define its use on
whichever level most suits them. A limited number of blankets
were sold through the Wexner Center for the Arts. A Homeland
Security Blanket was recently auctioned to benefit Architecture
for Humanity in New Orleans.
Jon Sueda & Stuart Smith
Catalogue design by STRIPE: Sueda & Swanlund
Exhibition at California Institute of the Arts; 2001
This exhibition presented a typefaces
designed by CalArts students, faculty
and alumni from 1988 to 2001. Each
typeface is a component of the evolving critical discourse concerning type
design cultivated at the school over
this 14-year period. The catalogue is
a single book composed of five smaller books, bound together with rubber
bands. In addition to showing specimens of all the typefaces
created between 1988 and 2001, each signature is wrapped with
a historical document (simply photocopied and footnoted) that
contextualizes the typefaces of that specific time period. Along
the margins, the catalogue offers historical information specific to the CalArts community that may have influenced the
trajectory of type design, such as the computer lab installing
the program fontographer (1989) and Barry Deck’s designing
Template Gothic (1990).
Poetry as a Means of Grace
Stephen Doyle
Book pages, bookbinding glue; 10 x 7 x 6 inches;
2003
What would a book look like
if the language were set free
of its pages? What shape
would a novel take if its text
sprang to life? This is one of
a group of works I call “hypertexts”, where texts follow
the logic of computer hypertexts to an illogical extreme,
linking freely and easily with other texts, transcending the rational order of sequence and syntax. This sculpture, part of a
series in the traveling exhibition “The Manuscript Illuminated”,
consists of lines of text cut from books and reconstructed into
architectural forms. Each work consists of an entire book.
This land is R land
Matthew McGuinness & Morgan Sheasby
They Rule
Josh On
Website: PHP, MYSQL, Actionscript, maximum
2000x2000 pixels; 2001, 2004
They Rule allows users to create
maps of the interlocking directories of the largest and most
powerful companies in the U.S.
The data was collected from
their websites and SEC filings
in early 2004, and thus may not
be completely accurate at any
given moment—companies merge and disappear and directors
shift boards constantly. They Rule aims to provide a glimpse of
some of the relationships of the U.S. ruling class. A user can
Found materials, silkscreened T-shirts and
a pool stick; 65 x 29 x 58 inches; conceptualized
in 2001, implemented since
Our “registered trademark pirated” is a
mark that attaches to the hosts of consumer culture. It is a gesture like that of
graffiti artists who, when disagreements
arise, write over each other. We made
the pirated R decals for people to place
atop logos and other corporate and visual properties within public spaces. The stickers are a point
from which to further dialogue about advertising with both big
and small budgets alike, with the street as the front line. As
pedestrians pass, democracy does not play. We are spoken to,
essentially told—and we would prefer to converse.
About the designers
Elizabeth Beer is an artist, designer and curator who is interested in what happens in between categories. She works out of
the Brooklyn-based studio: Various Projects, Inc.
Peter Buchanan-Smith was born in Canada and lives in New
York City. His first book Speck was published in 2001 and he has
since published, designed, and packaged many other successful projects. In 2005 he became the creative director at Paper
Magazine, and Isaac Mizrahi, and won a Grammy for his design
of Wilco’s album “A ghost is born”.
class action is a collective of graphic designers who collabo-
rate on design projects for social change. The group conceives,
writes, designs and disseminates this work without clients.
Projects such as installations, billboards, publications, and
video have dealt with a range of issues including AIDS, domestic
violence, gun control and funding for the arts. Class Action has
been recognized nationally and internationally in publications,
exhibitions and awards.
stephen doyle is principal and creative director at Doyle Partners. Founded in 1985, this ten-person studio has established
an international reputation for creating communications programs and engaging design concepts implemented with discipline and imagination. Mr. Doyle often hybridizes design and
artwork, fusing signs and symbols, merging the public and private. His constructions have been published by The New York
Times, and his drawings and sculptures exhibited in the US and
abroad. ID Magazine reports that he “rejects fashionable styles
in favor of solid, functional approaches rooted in concept, not
adornment…all without losing his sense of humor.”
John Emerson is an activist, designer, writer, and programmer
in New York City. He has designed Web sites, printed materials, and motion graphics for organizations including Human
Rights Watch, Amnesty International USA, the United Nations,
and United for Peace and Justice. His writing about graphic
design and activism has been published in Communication Arts,
featured in Print and Metropolis Magazine, and translated into
Italian by the Italian Association of Graphic Designers. He is a
graduate of the Cooper Union with a Bachelor’s degree in fine
arts. His Web site is at www.backspace.com.
2004, she designed and consulted on publications for the New
York Stock Exchange, Merrill Lynch, Hallmark, and many others.
She has taught Typography and Senior Portfolio at the School
of Visual Arts for 23 years. Carin’s work has been widely recognized, exhibited and published. She is the recipient of the
silver medal from the Art Director’s Club and has twice received
publishing’s Literary Marketplace Award. Carin has served on
the board of AIGA/NY and is currently on the board of AGI, the
Alliance Graphique Internationale.
Stuart Henley has practiced graphic design in London, New
York and Honolulu. He was awarded an MFA in Graphic Design
from Yale University in 1996. His work has been recognized by
the AIGA and is currently teaching at the London College of
Communication.
Illegal Art, started by Michael McDevitt and Otis Kriegel in
2001, is a collaborative of artists whose goal is to create interactive public art to inspire self-reflection, thought and human connection. Each piece is then presented or distributed in a method
in which participation is simple and encouraged. Michael McDevitt is a graduate of Pratt Institute where he has been a adjunct
professor for seven years within the Communications Design
Department. He founded and ran McDevitt Group, an advertising, design and marketing firm for ten years and is currently
chief creative officer of The Apartment Agency. Brian Janusiak is a project-based designer whose work is conceptually rooted and bounces from category to category. He
holds an MFA in graphic design from Yale University. Janusiak
works out of the Brooklyn-based studio: Various Projects, Inc.
Dan Michaelson currently teaches graphic design at Yale University and is partner with Tamara Maletic in Linked by Air.
Working together and with others, they have designed digital
displays for public spaces in the Museum of Modern Art, Lincoln
Center, Prada Store Beverly Hills, the Port Authority’s proposed
ground zero transit hub, MIT, and Stroom Gallery, The Hague.
They recently received a Charles Nypels grant for research
on collaborative embedded digital sign systems. Linked by Air
believes in systems that are open-ended, and specializes in
projects which, whether high-tech or low-tech, help diffuse
communities to coalesce in new ways.
Allan Espiritu is a practicing graphic designer and educa-
tor residing in Philadelphia. Allan Espiritu’s personal work is
rooted in ideas of commodification of the individual and objects,
issues of power and control and criticism of the image (via
music, television, and movies). These views visually manifest
themselves through various methods: subversion, interception, de-familiarization, re-contextualization and appropriation.
Espiritu received his B.A. from Rutgers University, Camden and
his M.F.A. from Yale University.
Educated at The Cooper Union School of Art, Carin Goldberg
has 30 years experience in graphic design, including design and
advertising for major publishing, music and television corporations. Her clients have included Simon and Schuster, Random
House, Harper Collins, Hyperion and Nonesuch Records. As
creative director at Time Inc. Custom Publishing from 2003 to
Josh On is a designer and activist living in San Francisco.
A graduate of the University of Washington, Mark Randall
partnered with David Sterling in 1993 to open Worldstudio, Inc.
a graphic design studio and Worldstudio Foundation. Randall
has taught at Parsons School of Design and Hartford University, and lectured extensively on design and social issues. His
work is featured in a variety of books on graphic design. With
Sterling, he was selected for the 1996 and 2001 “ID40,” a list of
trend-shapers in the design world published annually by ID: The
Magazine of International Design. David Sterling earned an MFA
in design at Cranbrook Academy of Art. He was Art Director of ID
Magazine and in 1982, established his own studio, Doublespace.
He has won over 100 awards for excellence in design; he has
lectured extensively; and his work is featured in the permanent
collections of the Cooper Hewitt/National Design Museum and
the Library of Congress. Sterling lives in Merida, Mexico and
where he operates Los Dos, a school of Yucatan cooking.
David Reinfurt runs O-R-G inc., a graphic design practice that
works for cultural and educational institutions in a range of
media. O-R-G is a constantly shifting configuration of designers, openly sharing and assimilating others’ ideas back into the
larger framework. David was an interaction designer with IDEO
San Francisco, where he designed the interface for the MTA MetroCard vending machines. He has been a visiting critic at University of Texas, Gerrit Rietveld Akademie, and Royal College
of Art. David holds degrees from University of North Carolina
and Yale School of Art and teaches courses in the Interactive
Telecommunications Program at New York University and at
Yale. See also http://www.o-r-g.com/
Born in Austria, Stefan Sagmeister came to New York on a
Fulbright grant in 1987 to study design at Pratt Institute in New
York City. He established his studio Sagmeister Inc. in 1993 with
an emphasis on concept over style; he works primarily in the
entertainment, art and culture fields, creating CD covers and
books for clients such as the Rolling Stones, Lou Reed, and
David Byrne. Sagmeister is a frequent lecturer on design and
teaches in the graduate program at the School of Visual Arts.
The book Made You Look, written by Peter Hall, documents his
work and philosophy.
Graphic designer, illustrator, educator and author paul sahre
established his own design company in New York, in 1997.
Consciously maintaining a small office, he has nevertheless
established a large presence in American graphic design. His
approach is evident in such things as the physical layout of his
office—part design studio, part silkscreen lab, where he prints
designs and prints theatre posters, some of which are in the
permanent collection of the Cooper Hewitt Design Museum. On
the other side of the office, he is busy designing book covers for
authors such as Rick Moody, Chuck Klosterman, Ben Marcus
and Victor Pelevin. Sahre is a frequent contributor the the New
York Times op-ed page. He is co-author of Hello World: A Life in
Ham Radio, and teaches at the School of Visual Arts.
Paula Scher has been a principal in the New York office of
the international design consultancy Pentagram since 1991.
She began her career as an art director in the 1970s and early
1980s, when her eclectic typography for records and books exerted a great influence on the graphic design of the period. The
images she has created over the ensuing three decades have
entered into the American vernacular—at once iconic, smart,
and unabashedly populist. At Pentagram, she designs identities,
packaging, publications, and environments for a broad range of
clients, including The Public Theater, Citibank, Jazz at Lincoln
Center, Tiffany & Co., and The Daily Show with Jon Stewart.
Matthew McGuinness and Morgan Sheasby have been working together since 1998 and collectively as The 62 since 2002.
Their work has been published internationally and can be found
in the permanent collections of The Hong Kong Heritage Museum, The American Institute of Graphic Arts, and Exit Art. They
are to be featured in the AIGA/Princeton Architectural Press
publication this spring, Fresh Dialogue VI: Friendly Fire. They
have received funding for their projects from the Nathan Cummings Foundation, The Bronx Museum of the Arts, the National
Endowment for the Arts and ConjunctionArts.
Stuart Smith is a graphic designer in Los Angeles at Green
Dragon Office and his own studio, Happy Client. Specializing in
book and web design, he has worked mostly for cultural clients
such as the J. Paul Getty Museum, Los Angeles County Museum
of Art, the New Museum of Contemporary Art in New York, and
Tate Liverpool. His work has been recognized by the AIGA, Art
Directors Club, and American Association of Museums.
Jon Sueda resides in Los Angeles where he co-founded a col-
laborative design studio called STRIPE with partner Gail Swanlund. His work has been included in publications such as STEP,
East Coast / West Coast, :Output, and California Design 05. His
work has been shown internationally in exhibitions including,
“California Dream”; “Form/Inform”; “Earthquakes and Aftershocks”; and “California Design Biennial 2005”. He teaches
Typography at CalArts.
Thomas Starr focuses on the civic and social function of graphic
design. His work has received awards from the American Institute of Graphic Arts, Art Directors Club of New York, International Biennale of Graphic Design in Brno, International Poster
Biennale in Warsaw, and Federal Design Council. Projects have
been published in I.D. Magazine, Print, Affiche and Graphis Posters and are in the collections of the Library of Congress and the
Zurich Design Museum. He is Associate Professor of Graphic
Design at Northeastern University. His firm, The Cultural Construction Co., designs for non-profit institutions.
Weikert Design (www.weikertdesign.com) is the partnership
of Mike and Stephannie Weikert. The pair provides a range of
design services including: identity systems, graphic standards,
corporate communications, packaging, and direct mail. Mike is
also co-chair of the graphic design department at MICA. Previously, he was creative director at Atlanta-based Iconologic and
design consultant to the International Olympic Committee. He
earned an MFA in Graphic Design from MICA. Stephannie has
been marketing director for an architecture firm in Baltimore
and an account executive at Iconologic. She earned an AA in
Graphic Design from Art Institute in Atlanta and studied Art
Education at Georgia State University.
Edvin Yegir is the principal designer at Typotopia | A Virtual
Design Bureau, a multidisciplinary studio speacializing in typographic design across all platforms for clients that are engaged
with meaningful cultural, educational and political matters. He
also heads the graphic design program at the University of Connecticut where he teaches what he does practice and preach.
Curator Jacqueline Thaw is a graphic designer in New York
City; she specializes in print and identity design for publishing,
cultural and educational institutions. Her work has been recognized by AIGA and SEGD. She is an Assistant Professor at Mason
Gross School of the Arts, Rutgers University
trigger
projects initiated
by graphic designers
Gerry Beegan
•
Elizabeth Beer
Stephen Doyle
•
Abby GOLDSTEIn
•
Dan Michaelson
Sagmeister
•
Smith
•
John Emerson
Stuart Henley
•
Josh On
Paul Sahre
& Mark Randall
Peter Buchanan Smith
•
•
•
•
•
•
Allan Espiritu
Illegal Art
•
•
Class Action
Carin Goldberg
Brian Janusiak
David Reinfurt & Stewart Smith
Paula Scher
•
Thomas Starr
STRIPE L.A.: Sueda & Swanlund
Weikert Design
•
•
WorldStudio
•
•
•
•
•
the 62
Stefan
David Sterling
Jon Sueda & Stuart
Edvin Yegir
Thanks to Rachel Eck for design of the
Worldstudio panel; Steve Skladany for
pamphlet design and technical assistance;
Joseph Hocking for managing technical
issues and advice on digital projects; and,
most importantly, to Abby Goldstein and
the Visual Arts Department at Fordham for
hosting this exhibit and for support with
coordination and installation of the show.
•
Forest Young