Paula Scher is a worldwide known designer and artist. She has years and years of experience and that is what lets her confidently design by instinct. At the same time, because she is so famous and well regarded I think clients are less inclined to go through infinite rounds of revisions and are more likely to trust her design proposals. I feel that if I were to propose designs that are out of the ordinary and that break rules, it won’t be as easy for it to be accepted because I don’t have years of experience and the client might not trust me. I’ve also had experiences with some older professors who I felt did not respond well to certain design proposals because they deemed them not normal and rule-following enough. Being at the beginning of my career I also can’t just do whatever I want and hope they like it, and if not onto the next one.
One thing I found to be contradicting from Paula Scher was how in one video she despises computers and can’t use them and can only send emails, and in the other, she talks about how she used Photoshop to render the designs for the underpass in Pittsburg. I don’t know if one video was older than the other and she eventually learned to use a computer or if one of her staff did the rendering, or if she just wanted to sound important and wise. I felt that it was stupidly arrogant. She can be arrogant all she wants because of her success, but you are going to be left behind if you don’t learn to use the computer. It is true that designers of today might miss the experience that comes from working manually, but computers are powerful tools that get jobs done much faster and easier. There is no point in dueling over the past when the present is digital and the world is going forward.
What I found interesting about Paula Scher through the videos I watched is that she wants to create typography that is appealing for her audience to look out while still successfully making the client’s message come true. An example was where she created typography that incorporated “Loudness” and “Noise” for when she had to design posters for Noise Punk. I really found that interesting because it reminded me of the designer Filippo Marinetti, who used typography where he bent and manipulated it into creating a chaotic and aggressive look in order to communicate his anarchist ideals through Futurism. Another thing I found out is that Scher hates Helvetica, calling the typeface “Solemn Work”. I can agree with her because Helvetica is pretty basic and it gives me a better understanding o why she is passionate about creating such outrageous typography work, because she wants to make something that is interesting and people will recognize her for her typographic choices.
as i watch through the videos helvitica is the most hated font that she quotes “solem work”. it seems that though she is passionate about more on progress rather than perfection. and i do agree its the people not the design because concepts have to match design in my own opinion. she aslo mention template with art work which is already have been done which is sort of true. she also used fonts in metal architecture and playing around with things not done before
After watching the videos, Paula Scher was very interesting to learn about. Throughout the videos, you learn about her work and how she approach it. She operates with her instincts, she never been a refiner. One of the work she talked about was the Citi bank logo, she created it on a napkin within a few seconds. She said how computers aren’t good for design. Paula Scher says she hated Helvetica, and she want to do and create her own designs that wasn’t made out of Helvetica, because of that she would use art nouveau or deco and taught herself to use them. Paula Scher also says that young designers leap up very quickly because we do not know anything and have a lot to learn. I agree with her because everyday I learn something new. I attend classes and learn from there, I learn from watching videos and even more. The only thing I disagree with her is the Helvetica. I like the font, I think it is easy to read and is used everywhere because it is popular.
Paula Scher hates Helvetica. Right away I like her style since she wants to get away from what she calls “solemn” work. She wanted to create her own style by doing everything in her power to avoid using Helvetica, and in her pursuit of that goal she was doing things that she had fun with. I feel as though this notion of wanting to do something that is different from what is the norm is a great driving force behind innovation, since she was seen as a postmodernist after she had already established her style with designing album covers. Her words of “serious play” is kind of motivating, since most people are always focused on getting the job done and don’t mess around to try new ideas or techniques.
One of her instructors told her to illustrate with type, which I think is great advice. Her use of typography to create the design shows that by stepping away from the traditions and accepted views on design, someone is able to create captivating designs and maybe even influence others to follow the style created. However I do think that she is a little contradictory in some ways. She doesn’t/didn’t see the computer as a good way to design, even saying that “you don’t type design” when in reality I feel as though that idea is antiquated. Computers allow for some insane new creativity to come through, and just looking at Photoshop and the capabilities it has is enough to prove her wrong.
Paula Scher says that young designers gain a lot of experience since everything they do offer a learning experience, since they don’t really know anything. It’s a somewhat scary thought to have, since there is so much to learn about the world of design outside of school, but it’s good to know that there is a good amount of experience we as young designers can get and just how much we can achieve as we learn and do some serious play
It was interesting hearing about her work that would communicate a context and message through design and typography. For example, when Scher designed posters for noise punk, she made the typography portray loudness or noise. I understood well when she talked about how intuitive her design process is because I feel as though my best ideas tend to be with intuition. Paula Scher talking about her working with the public theater before they had an identity, she made design that was expressive and had no bounds and as a designer she grew a lot from that experience. I like the idea of serious design vs solemn design because serious design or “play” design seems to be creative, innovative, and bold while solemn is normalized and appeals to the mass. I found the idea of design being through accidents and circumstantial really interesting as well. It was interesting to hear about MoMA and how the design wasn’t the problem but rather communication with each of the departments for a cohesive identity. It was also interesting to see how she combined art and design with the installation in the metropolitan high school. I overall like Schers intuitive design mindset even if it is against the norm or a brief.
In the video “Artist Series” Paula said that “New York City ate the identity of public theaters” because everywhere you see on posters, in the subways, on billboards. It is just everywhere one type of style that is plastered everywhere. It’s also very interesting how people say “just go with your guts” and what Paula said she went with her instinct and she also said if she “doesn’t get it the first crack she will get it in her second and if she doesn’t get it in the second then she would never get it.” I feel the same way with clients when they come to you for design help and your ability to help them in like a split second with a solution that came to you off the top of your head, and the client has paid you for it, they would feel that they aren’t getting their money worth because it didn’t feel like you took much thought into it. But as a designer myself if you’re able to come up with a solution very fast that’s a pat on the shoulders. I am surprised that even though Paula has been doing this for years she was able to learn new techniques from other designers. One thing that Paula said that helped her later on in her career was that she had a polish illustrator who was her teacher named Stanishlaw Skiorsky told her to illustrate with type and not just stick the type somewhere and an illustration onto a blank page.
After watching all three videos of Paula Scher it was great to know about her. While watching her first video she talks about jazz and how she started designing for jazz. So when she started designing jazz. She worked with Wynton and asked his opinion about how she should represent her work. His opinion was it should be syncopated. Also, I learned about what is syncopated? Syncopated is a single page when we have a bunch of things in order and one of them is off. This means that half the amount of your work has been approved and the other half has been rejected. So you should try your best to do things right, Palau had to make many changes to get things right. She received many different comments to make a change in her work when she was designing jazz. She had many different options to approve. I think we all should have a B plan when we are designing things because we don’t know what can happen at any moment and I have experienced it a lot for example “menu.” she kept on doing what he said for it and got at the end. She created it as an identity. While watching her second video I learned about what she talks about is her work is play. She plays around when she designs. I also agree with what she said about Endeavor and gambling because sometimes I do that as well. When I am designing I put on a timer to get things done on time or sometimes I like to play around with my design. Also while we design or do something we need to be solemn which means to be easy. While I design I get too serious sometimes and being serious is hard but then at the same time, I need to be easy on myself to get things right. Also, Russel beakers said solemnity seriousness to design, it doesn’t necessarily make any particular point about quality. Solemn design is often an important and very effective design. Solemn design is also socially correct and is accepted by appropriate audiences. Finally, in the third video which was my favorite from the beginning I like the sentence he starts with. In this video, I found most interesting the four projects shown and discussed. Her project was great. I joined watching her the first project she talked about with “H” to create an “F”. Also, she talks about crapola which is something to sell stuff. So people create something which is “real,” something is going on. Her second project was great as well. I would like to do something like this for my projects as well. I would like to have a gallery or show with my art in it to represent my art.
In “Do What You’ve Never Done Before” when Paula said design has a purpose and art doesn’t, I agree. When it comes to design, you have to proofread, do research, have reasons on why did you make these choices and etc because you’re developing these digital media for clients. For art, it has no purpose, there are no rules, you can do whatever you want because you’re doing it for yourself. I remember I designed a website for a client, I made huge changes because the colors that I pick were associated with their brand colors, I changed the images that they had because they’re not selling that product and can get in trouble for copyright issues. In “Great Design is serious, not solemn” when Paula showed “The Career Staircase”, she said “In your 20’s the riser are very high, the step is very short and you make huge discoveries. You sort of leap up very quickly in your youth. That’s because you don’t know anything and you have a lot to learn. ..” As a young designer, I agree with what she said because I have so much to learn on how the real world works in the design industry. Fortunately, I’m willing to learn new experiences. I’m surprised Paula doesn’t like “Helvetica”, even though I don’t use the font a lot, I don’t dislike it.
Learning about Louise Fili was very interesting because You can see how her love for Italy has inspired her design work. I think as designers we all have something that inspires our creativity. The most important thing that I took away from Fili was having a personal project, I did not realize that having a personal project could help you grow as a designer. Activities that aren’t even design related could also help inspire you and give you ideas. The more experiences we have in different areas the more diverse our work would be. She inspired me to look at different sources for inspiration and to have an open mind. Seeing how Fili would also photograph different signs and book stores, it reminds me of how we live in a city full of logos and advertisements which are all sources of design inspiration. It is something that I will be taking plenty of photos of to help inspire my work.
It was interesting learning about Louise Fili and her career as a graphic designer. Louise Fili’s passion is anything that has to do with Italy and food, which explains where she gets her inspirations from for her work. She loved Italy so much that she would always travel there often to take photos of signage, markets and book stores. “Fili believes that designers need to have their own projects to find their personal design voice.” I agree with this, not everyone is the same and will design the same thing in the same way. People have their own creative mind, tastes, opinions, perspectives and ways to do things. Louise Fili had to create her own archive, she created her own type from scratch, piecing letters, and alternating existing fonts because she wanted it to be unique. It is amazing that she has designed over 10,000 book jackets.
What I really admire about her designs is that they appear very old-fashioned, but very well crafted and designed. Her typography and design almost seems like the old cinematic posters and fonts used in the 40’s and 50’s. I can also see that she gets her inspiration from Italian heritage, Bauhaus, and Art Deco with the use of script hand lettering, use of primary colors, patterns, and exotic typography. Her work is a great example of combining modern with old that brings out an excellent outcome. She and her work are a great inspiration to us and future generations of designers.
I really enjoyed looking at and hearing about the stories behind some of her works. She says that as designers we should not limit ourselves to one type of work or client, and that we should not sit around waiting for the phone to ring. I agree with her on both points. As designers we should diversify our works and clients in order to grow and expand our design skills and style. If we are not busy with client work, we should take that time to learn new skills or work on personal projects to develop our design capabilities. As designers we should be able to deliver a diversity of works from a diverse clientele. If we can only do one type of work, it is going to be hard to get hired because not all clients want the same style over and over.
I was really intrigued when watching the video of Louise Fili and her career as a graphic designer. Fili has designed over 10,000 book jackets in Random House productions. Drawing her inspiration from her Italian heritage and food, Fili shows her strong and elegant typography skills displayed onto food packaging and Italian products. I really like how Fili gets her inspiration from the things around her and incorporates it into her work. Her designs are very Italian vintage, and it is perfect for all the products that she has designed for, but they are also very recognizable, as viewers can look at the product’s logo and can clearly see that it was designed by Fili. Fili states that she loves to make her logos into products and making them very dimensional, as she showed an example of her logo work with a number 2 pencil design, where the design was very dimensional and dynamic. One thing that I learned from the video is that there is no right or wrong when creating designs, and that you just have to do what comes up with your head and make the adjustments over time, in order for your designs to become perfect. Fili also has an extensive visual library from all the photographs and books she has collected throughout her years, and I believe that a visual library is a great way to get inspiration to produce better designs.
“You didn’t have to shout to capture someones attention”Louise Fili, INDABA talk
That phrase from Louise Fili speaks volumes as to how I want to approach how I design. There is something special about a simple design that can captivate anyone walking by. She also wanted to have unique type by drawing inspiration from multiple photos she took, altering existing fonts, or by using letters from old type books to create her own letterforms. Creating your own typeface is a brutal process, and I respect that drive to be unique among the many different sorts of type out there. She goes into great detail about how she came up with many branding identities for a number of restaurants, and its amazing how much problem solving she had to go through, as well as the final products that are very smartly considered. She made a sign for a restaurant called 92, and she used the outline of the logo to create a kids. She also gives a funny anecdote where she used sardine cans as a way to present the check to the customers, and how she would have to create many of these every two weeks as the customers would play with the pull tabs too much and ruin them. It was a very smart way of creating a brand with something as simple as a check presenter, and it worked very well, yet there were still some issues that were out of the designers hand.
Louise Fili has a long and prosperous career, and her decisions regarding type and identity shape how she approaches problems. One big takeaway from this talk is that having a large library of photos, type books, or other such media can be extremely helpful as a way to get inspiration for our own work. And of course, the copyright page, where she goes the extra mile to create something reflective of the book itself and allow it to stand out among other book designs.
After watching the video it was nice to know Louise Fili. What inspired me was when Louise Fili said that she had served as an art director for years at Pantheon Books, designing more than 10,000 book jackets. I also agree with Louise Fili when she said that in running your own workshop, you do not need to yell to be heard and share two important lessons. You need to start doing what comes to mind. No answer is correct or wrong. Keep writing in your head, whatever comes up. There is also a wonderful example, which is a mind map. To draw attention, we don’t need anyone to see what we have written down. Louise Fili believes that designers need to have their own projects to find their personal design voice. She provided examples on the front of the books of her restaurant designs, product packaging, and her exclusive copyright page handling. All the art directors were already being paid so poorly that they all had to freelance for each other. One day, she got a phone call from an editor she’d never worked with before, But she didn’t have any other options. To draw on it, she had to build her own archive and she dismissed it as just conventional typefaces for the covers. She wanted them all to be original so that she could either do it from scratch or piece letters from alphabets together to create the form in any way she could. fascist Italian Nazi novel that was just right for her. But the next day, with the inner bark stud, it would be fascist style. Sometimes you need someone to see and go through your work, it’s also fun to go your own way. So just start with whatever you think or the sketch, because Louise Fili is doing that to create her own set to draw what she wants to do.
It was interesting that art directors back at that time were “poorly paid that they had to freelance for one another.” It was also interesting that designers had to create their own maps to follow when creating something to publish. Louise was enjoying designing the interior of the book since she designed book covers for so long. Louise then started to take type and put it into an image which was really cool. She said that it took some time for her to convince the client to agree to put the copyright page into an image. Louise then started to design for a restaurant what was cool about that was when restaurants closed down she was able to keep the design she made for the restaurants which was a win-win for her since she got to keep the design. People think that having a random name for a restaurant is alright all you need is someone to do a fancy design and it would all work out. But that isn’t how it works you should have some kind of background on the name of the restaurant. This tells me that as a designer we have to do research as well as the client for everything to work out well, and for a brand/logo to work well. Also sometimes going out of your comfort zone is also good because you can create something that is different and unique out of all the designs out there that already exist.
It is interesting hearing about typography design and book jacket design from Louise Fili. She believed that book designs weren’t innovative and would always follow a formula and she was there to change that and try to be different with her typography design. “The Lovers” cover was simple and understated yet successful which proved her point on how type didn’t have to be loud and in your face to be successful. I really agree with her sentiment that no designer should just wait around for others to tell them what to do but rather should be working on their own projects as much as possible. I really like and relate to her persistence and drive to push design boundaries and be innovative no matter what “the rules” are of design. I love how inspired/obsessed she is by Italy and food and how she always photographs things for inspiration. She always takes inspiration from things around her or things she stumbles upon. All of her designs usually have a very vintage and/or Italian look to them which speaks to how she expresses herself through her designs. I pretty much loved all of her work she discussed and it was clear to see how creative and passionate she is about design which is really inspiring to me.
I was impressed how a simple design book cover can have a huge message like “The Lover” by Marguerite Duras. I can relate when Louise said, “two, you should never sit around to wait for the phone to ring.” You shouldn’t wait for someone or something to tell you what to do. You can use the spare time to focus on your projects that will inspire you to have a personal design voice. It was unique how she turned the legal information (copyright page) into an object that is based on the book. One of the designs that got my attention was, she was curious about how can someone remember or pronounce the name of “Picholine”. She developed to add the symbol of olives to boost the restaurant’s recognition. Another design that I found phenomenal was she had a client that named their restaurant in numbers, she decided to go out and get inspiration. She took a photo of a “9” and a “2”. Then she photoshops the numbers, developed an outline of the design, and used that as a coloring page on the Kid’s Menu. Another design that I enjoyed was she had a client that wanted a restaurant with a cinematic theme. For the menus, there was one for “Lunch”, “Dinner” and “Fin” for the desserts, a good way to end a delicious meal (save the best for last). For “The Mermaid Inn” had a creative way to give the customers their receipt. Which was a half-open sardine can that has their receipt inside. Having the primary and secondary colors for the cans made it stand out for the brand. What I’ve noticed on Louise’s packages is they all have a vintage, old school, and a twist of contemporary design because of the typography, shapes, patterns, and illustrations. The designs give the packages a personality of the brand.
When starting a logo design, the first thing a designer looks at is the name of the company and the sector they operate in. Depending on what the product is about, the designer can design a logo that figuratively represents the product. When the name of the product does not represent a tangible object, designers might need to go more abstract and use elements that suggest what the company’s sector is. Other times, the client has a clear idea of what they have in mind and might request certain elements in a logo. The logo does not always clearly show what the company is about and there might be a name for a subtitle to better explain the logo. For a restaurant, often times the restaurant name does not tell the customer what food they serve. The restaurant might include the cuisine in their name or subtitle to tell the customers what the kind of food they serve.