A collection of avant-garde and modernist magazines at Monoskop.
Typographer Harald Geisler walks us through the process of designing a proper handwritten font. Over at Smashing Magazine.
Life as a graphic designer was always rather easy for me: I received a job from a client, finished it, sent the invoice and sooner or later another job would appear. As of lately though, I got lots of different jobs from one client, all from various department and various product managers and began slowly losing the plot. Have I invoiced this job? Has this job been approved? What’s with the job that started 3 weeks ago? Searching through long
e-mail threads with attached Word, PDF and PPT documents isn’t that much fun either. Clearly a job number system was needed.
There are, of course, dedicated database systems for ad agencies and graphic design studios available. However, they don’t come cheap and why buy yet some more software when I’ve got Evernote?
With a lot of trial and error I came up with a system that works perfectly well for my purposes. I’m sharing it here because it may as well suit your work flow; a basic knowledge of Evernote is required though – download the manual here.
I created two note templates in Evernote. The first one serves as a job bag.
The note title consists of the job number and description of the job, followed by date, name of product manager, and, just for the sake of it, the job number again.
“Art:” shows, once the job is finished, the attachments – a low resolution PDF and the InDesign document. The space underneath is used for briefs from the client, e-mails and everything else that belongs to this particular job. This way I’ve got all the communication with the client within one easy searchable note and don’t have to browse through gazillions of e-mails.
This is what a “Job Bag” note looks like once a job is finished:
The second note template is used for the creation of a jobs list:
This gets copied and pasted into one note every time a new job is created. It’s for a list view of all ongoing jobs. Checkmarks show the status of each job and, most important of all, whether it’s been invoiced and paid. “Links:” points towards the job bag and possible additional documents, like branding guidelines. Depending on the number of jobs per month, I can create a new list either every month or every 3 months or could even keep a list on a yearly basis.
Here’s the list view:
At present this system works just perfect for my purposes. It can probably be extended or perhaps even simplified, but right now I don’t see any reason for this.
And now back to work.
A catalogue from the 1930s, over at Agence Eureka.
Die in den Jahren 1925-1934 erscheinende Zeitschrift „Die Form“ wurde von Walter Curt Behrendt für den Deutschen Werkbund herausgeben. Sie erschien im Berliner Verlag Hermann Reckendorf; ihre Auflage überschritt nie die Marke von 5.000 Exemplaren. Der Untertitel lautete von 1929 bis 1934 „Zeitschrift für gestaltende Arbeit“.
Bereits im Jahr 1922 hatte es einen ersten Versuch gegeben die Werkbund-Zeitschrift zu etablieren. So heißt es im Geleitwort des ersten Bandes (1925) von Walter Curt Behrendt „Mit dieser Zeitschrift setzt der Deutsche Werkbund ein Unternehmen fort, das bereits vor längerer Zeit begonnen, unter dem Druck der wirtschaftlichen Verhältnisse zunächst wieder aufgegeben werden mußte. Die Zeitschrift wird die Aufgaben der Formgestaltung für alle Gebiete des gewerblichen und künstlerischen Schaffens behandeln.“
Behrendt blieb bis Ende 1926 Herausgeber und wurde dann durch Walter Riezler abgelöst. Die Gestaltung der typographischen Umschläge lag in den Händen von Joost Schmidt. Er war seit 1919 am Bauhaus und leitete seit 1925 die Plastische Werkstatt. 1934/35 wurde die Zeitschrift von den Nationalsozialisten übernommen und dann eingestellt.
Orbis Typographicus (“The Typographic World”) is a set of twenty-nine 9 × 12 letterpress broadsides, designed by Hermann Zapf and printed by Philip Metzger of Crabgrass Press between 1970 and 1980. The broadsides feature quotations on art, science, nature, faith, and the human condition, from authors ancient and contemporary. The text includes poetry, prose, anagrams, and palindromes, in English, German, French, and Japanese. Typeset by hand by Philip Metzger, the set pays tribute to worthy “Thoughts, words and phrases on the Arts and Sciences” through Zapf’s unconventional and ingenious use of typography. Orbis Typographicus functions both as a work of literary wall art and as an elaborate type specimen, showcasing many of Zapf’s own faces, as well as those of his wife Gudrun Zapf von Hesse, and several others. The set includes a specially crafted Plexiglass frame, in which all the leaves may be stored and periodically shuffled so that a different leaf is visible at the front.
“At the Stephen Friedman gallery, American artist Jennifer Rubell’s “Portrait of the Artist” is a giant white fibreglass sculpture made of the artist when she was eight months pregnant, and which allows people to crawl into its open womb.”