In Make in Bigger, Scher candidly reveals her thoughts on design practice, drawing on her own experiences as one of the leading designers in the United States. For over three decades Paula Scher has been at the forefront s. In she co-founded Koppel & Scher, and in Make It Bigger published. Make It Bigger - Ebook download as PDF File .pdf), Text File .txt) or view t Bigger Paula Scher 3. Published by. Princeton Architectural Press 37 East Seventh.
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Now Even Cheaper. Paula Scher. Nenhuma oferta encontrada. ISBN ISBN Ano: / Páginas: Idioma: inglês. An outspoken voice in the world of graphic design for more than twenty years, Paula Scher has developed a worldwide reputation for her bold. Paula Scher: The Maps, Maya Stendhal Gallery, New York, NY. The Scher, Paula, Make It Bigger, New York: Princeton Architectural Press,
She describes it as the greatest project mainly because of the creative freedom she had, and the two young and daring Swedish entrepreneurs. Later on she has come to realize that she gave the project away financially but has no regrets since she found it to be so fulfilling. Soon after, in part due to desktop technology, she discovered the art of hand lettering through a series of posters and paper promotions among others that have led to her now famous obsessive maps image 1 , image 2.
In she joined Pentagram and quickly learned a few things she had been doing wrong all along, and also realized she had been doing a few things right. She has found it a great place in which to be, since she has the opportunity to work as an independent, while benefiting from the cooperative.
She has thrived in this environment, working on all sorts of projects, always in the look out for fun and unexpected experiences that she can obtain with the credibility that Pentagram provides. This book has provided me with a rather insightful view to the Paula Scher behind the myth.
I can see that like the rest of us, she has been afraid, intimidated, shut down and pushed every which way like the rest of the world. She is a strong woman, and her efforts have paid off. The one thing that has left me unsettled, is her over-simplification of the world. People are either smart or dumb, lazy or energetic, design writing is either coping or craving, design projects are either corporate or fun.
This is of course an ideal situation, but with larger and larger corporations taking over the world this is very hard to find, if not almost impossible. During her eight years at CBS Records, she is credited with designing as many as album covers a year. In addition her designs were recognized with four Grammy nominations. She is also credited with reviving historical typefaces and design styles.
Scher developed a typographic solution based on Art deco and Russian constructivism, which incorporated outmoded typefaces into her work. During the six years of their partnership, she produced identities, packaging, book jackets, and advertising, including the famous Swatch poster based on previous work by Swiss designer Herbert Matter. Pentagram In , after the studio suffered from the recession and Koppel took the position of Creative Director at Esquire magazine, Scher began consulting and joined Pentagram as a partner in the New York office.
Since then, she has been a principal at the New York office of the Pentagram design consultancy. As an artist she is known for her large-scale paintings of maps, covered with dense hand-painted labeling and information. Print Paula Scher has contributed to numerous issues of Print.
Her first Print cover was with her friend Steven Heller. Together they created a parody issue in , a genealogy chart of graphic design.
Based on the challenge to raise public awareness and attendance at the Public Theater along with trying to appeal to a more diverse crowd, Scher created a graphic language that reflected street typography and graffiti-like juxtapostion.
From to , Scher worked closely with George C. As part of the anniversary campaign, the identity was redrawn using the font Akzidenz Grotesk. This laid the foundation for the new overall identity and visual language that came to define the Public Theater for the rest of the decade and beyond.
The designs for the Shakespeare in the Park campaign went all across New York, like the buses, subways, kiosks, and billboards. The identity has progressed over the years which redesigned The Public Theater logo in and The identity is like New York itself, constantly evolving.
This campaign was award for Print Regional Design Annual In , the Franklin Gothic No. Although MoMA core identity is well developed iconic museum but the applications like the web, print, and physical environment has not been unified or visionary like the museum itself.
In order to continually carry the spirit of the institution, the museum hired Pentagram to design a more powerful and integrated comprehensive system. Scher designed a strong grid to uniform placement of images and types.
The artwork is being cropped to maximize visual and each quadrant of a page or a banner has specific function. A particular image is selected as the signature focus for an exhibit and list of upcoming events unrelated to the featured into a text block.
The black on white logotype placed at vertically position whenever is possible and always bleeds off an edge. The Metropolitan general manager, Peter Gelb proposed to rebrand the institution and reach a wide audiences like the younger generation that never set foot inside the opera hall.
The logo is set in the font DIN that appears slightly stacked on each layer. The palette is composed of black, white and silvery grays, in the way it resemble to the buildings of New York appear sometimes. It has a softened transparency and a subtle gradation of color that will include shades of blue blacks, green blacks and red blacks.