typography portfolio
DESCRIPTION
ART 222 Typography Portfolio 2013TRANSCRIPT
Dear Addressee,
Sed et enim tortor. Donec consequat justo quis urna mollis nec rutrum ante tincidunt. Duis dui lorem, imperdiet vitae semper non, molestie ac ipsum. Class aptent taciti sociosqu ad litora torquent per conubia nostra, per inceptos himenaeos. In hac habitasse platea dictumst. Duis euismod adipiscing odio, vitae imperdiet nulla tristique nec. Donec risus urna, pharetra non volutpat quis, malesuada quis neque. Sed placerat nibh vitae dolor dictum sollicitudin. In hac habitasse platea dictumst. Nunc ac mi neque. Vestibulum ante ipsum primis in faucibus orci luctus et ultrices posuere cubilia Curae; Curabitur vitae luctus lorem. In hac habitasse platea dictumst. Vestibulum eget malesuada tortor. Phasellus egestas fringilla magna.
Vivamus eu tortor ut tellus posuere facilisis in non urna. Mauris auctor libero dui, eget suscipit mauris. Pellentesque mollis, nunc dictum convallis accumsan, ligula nisl congue augue, quis consequat magna mauris ut urna. Quisque arcu metus, ullam-corper posuere vulputate at, condimentum ac dolor. Integer eros dui, tristique in luctus eu, faucibus ac nunc. Nunc id erat nec dolor semper laoreet. Phasellus placerat mollis fermentum. Aenean facilisis luctus diam eu congue. Curabitur ut augue nulla, ut bibendum ipsum.
Sincerely,
John SmithOwner
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LEGACY
ASSEM
BLA
GE
REBUILDING
A
GRAPHICAL
:GASTROTYPO~
T
H
E
Article by Richard Anwyl
Society seem-ingly demands it, our fascination and appe-tite for embracing the new apparently end-less. Who of us is not awed by the scale of Dubai's architecture, amused by the latest television commercial, drawn to the value and logic of the Prius Hybrid automobile or the aesthetic and functional design of Apple's iPhone?
But what of the abandoned—what responsibility do we have for preserving our displaced creations, yesterday's symbols of inspiration, logic and creative ingenuity? Champions for the salvation of one such cre-ation is the Center for Design Study, where I serve as executive director. This Atlanta nonprofit foundation is battling to preserve a seminal piece of America's design history that for 20 years was mounted on the cafe-teria wall of the CBS building. While some may not be aware of this inspiring three-di-mensional memorial to typography, many are familiar with its creator, Lou Dorfsman.
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Each day our world changes, the old quickly vanishing, displaced by inspired new designs, new perspec-tives and brilliant imaginative creations.
IT,World
DESIGNCanno
t
T
H
ESAVE
- Lou Dorfsman
CAN
THE
WORLD worthSAVING.”
but
make
“
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The CBS cafeteria wall is as legendary as its visionary designer and art director. Conceived in the mid-1960s and ultimately completed in 1966, the expan-sive wall, spanning over 35-feet wide and 8-feet tall, is a national design treasure. In producing the wall Dorfsman enlisted support from life-long friend and design legend Herb Lubalin. Lubalin, along with Tom Carnase, masterfully crafted the ty-pography for the aptly dubbed "Gastroty-pographicalassemblage."
Dorfsman, now approaching 90, considers the wall his magnum opus, his gift to the world. Unceremoniously dis-carded by CBS management in the early 1990s, the wall's nine panels were thank-fully salvaged by New York designer Nick Fasciano. Time and improper storage had ravaged the monument, however, leaving it in a state of disrepair.
The Center for Design Study, hav-ing acquired the wall, is engaged in fund-raising to support the meticulous and ex-tensive restoration required. The goal is to see Dorfman's wall restored to its full integrity and as part of a permanent trav-eling exhibition on historical American design, to serve as a tool for education and expanding awareness of the value of
intelligently applied design. The wall is a window to the past that should be built up, not torn down.
Too many once-revered icons may now only be found in books and journals or in some digitized visual li-brary; the least fortunate are committed only to memory. Countless pieces of art and design are si-lently destroyed each year, lost forever, re-ceiving only quiet bereavement after the fact. Many are lost to ignorance, either to their very existence or as historical sym-bols of our professions contributions in shaping our culture and its values. Loud-ly signaling acknowledgment to the in-herent value of our professions artifacts, and the importance of their preservation, AIGA's installment of a national design archive at the Denver Art Museum is to be applauded. But is it enough to simply belong to an organization that supports the design field's creative contributions? I believe the answer to be a resounding no—we must each personally challenge ourselves to take responsible action, to celebrate not only the new but to respect our industry's valued legacy and preserve the esteemed work of those who came be-fore us.
