Design

Nearly two years ago I designed a poster for a typeface named Pistilli Roman in my Design Systems class at the Minneapolis College of Art and Design.[1] Since then, I have received over 20 email inquires concerning the typeface. Most of these inquiries include comments and simple questions[2] about how one goes about obtaining Pistilli Roman (I usually respond by telling people that the typeface does not exist as a digital/functional typeface, but some similar typefaces do exist). Aside from these smaller inquiries, I have been fortunate enough to have made correspondence with some very interesting people who have revealed additional details to me about the history of the typeface and its designers, John Pistilli and Herb Lubalin.[3]

Most recently, I have been contacted by a man who was quite familiar with the typeface. Here is what he had to say:

“ I first saw this face in the summer of 64-65, when Arnold Bank, a type designer who was teaching a course in the calligraphy studio at Reed College, put up a copy on the wall. Later on, Lloyd Reynolds, the Art History professor and calligrapher, commented how difficult it was (in those days of letterpress) to print such a face. If you used enough pressure to get an even impression on the wide areas, the thin lines cut into, and even through, the paper…”

This man also had an original pamphlet about Pistilli Roman that was put out by Aaron Burns & Co. He was nice enough to transcribe the promise/guarantee that came with the typeface:

Pistilli Roman

We are pleased to present this first of a family of modern roman typefaces designed especially for our company by the American designer, John Pistilli. Designed in the classical French Didot style, this bold and delicately sensitive face will be followed shortly by Pistilli Roman Italic, Pistilli Roman Light and Pistilli Roman Light Italic. We hope that this booklet will serve as a helpful guide in your specification of this beautiful typeface.

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This pamphlet also included a biography of John Pistilli: John Pistilli is head of lettering design at Sudler & Hennessy, Inc., where he has been employed since 1949. Born December 4, 1925, he attended public schools in Astoria and Long Island City, N.Y. He graduated from the Jean Morgan School of Art in New York City, where he studied lettering under J. Albert Cavanaugh. He has also completed art courses at the City College of New York and during World War II served in the U. S. Navy.

In addition to the above emails, I did happen to receive another very special message this past summer when I was contacted by John Pistilli Jr. (the son of John Pistilli). In his email to me, he briefly described his father’s history as an artist and as a type designer. He also thanked me for taking interest in his father’s work.

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Notes:

[1]

I first discovered Pistilli Roman for myself after I saw a specimen of it in Herb Lubalin’s monograph, written by Gertrude Snyder and Alan Peckolick. At about the same time that I learned about the typeface, I had noticed that Work in Progress (a design studio based in New York and Paris) was using a very similar typeface (named Galeere) for their design in Self Service magazine. Shortly thereafter, I learned that Pistilli Roman does not actually exist as a digitized typeface. It was then that I decided to recreate/vectorize the typeface from a high-resolution scan for use within this poster project.

[2]

A selection of unedited excerpts from e-mails concerning Pistilli Roman:

“ …I can’t for the life of me get hold of Pistilli font! Seeing it on your site could you help me out on this. I’m doing a stone carved identity and really want to use it. Your help would be appreciated.”

“ …I’m a designer and I saw the work around the Pistilli Roman Font, Do you have any idea where I can find it digitilised ?”

“ …good to see im not the only one obsessed with that typeface.”

“ …saw your website the other day…loving the lubalin respect! can i ask where you got pistilli roman from? didnt think it had been digitalised?”

“ …I was wondering if you had the Pistilli Roman typeface. I’ve been looking around for it lately, and can’t seem to find it for the life of me”

“ …Do you have Pistili? Is there any chance you can send me the ampersand from Pistilli?”

[3]

Pistilli Roman is a typeface collaboratively designed by Herb Lubalin and John Pistilli. Pistilli was a partner with Lubalin in New York City at the firm Sudler & Hennessey from 1949 to 1964. The typeface was accompanied by 3 alternate weights: Bold, Open No. 1 and Open No. 2, each of which varied exclusively in the thickness of the hairline strokes. Given the technology of the time when Pistilli Roman was produced, the typeface was only designed and made functional for use on a typositor.After the demise of phototype and typositor machines, the typeface was never revisited and as a result, the typeface has never officially been digitized. Because Pistilli Roman was a very exclusive typeface that gained acclaims as a result of its highly elegant and unique ampersand, many look-alike typefaces began to surface. In 1969, Phil Martin, of Alphabet Innovations, produced a Pistilli Roman replica with many of the same swashes and alternate characters named Didoni. The difference being that Didoni had hairline strokes that were typically thicker by a small percentage and also lacked the fancy ampersand that was a trademark of Pistilli Roman.The first unofficial digitalization of Pistilli Roman had supposedly been attempted by a type foundry named Castcraft in the early 1990’s. The typeface was classified under the “ OPTI” font range as “ OPTI Pirogi Roman.” Not long after that, another look-alike version of Pistilli Roman was made available by a media company named GreenStreet. As a part of a large software CD titled “ GST 500 Elegant Fonts,” the copycat typeface was hidden under the name “ Galeere.” Galeere, like the other typefaces contained many imperfections and did not offer the trademark ampersand. Besides Pistilli Roman’s rare appearance inside of the type specimen book titled “ Phil’s Photo Book” (published in 1985), it is a largely unknown and mysterious typeface.The only acknowledged versions of the original hard copy phototypes for Pistilli Roman are located in Brooklyn, NY with a company named Incipit. Incipit is a design firm that also houses a rare photocomposition library with approximately 3,500 available typefaces, including four different weights of Pistilli Roman.

[*]

fig. 1 – fig. 3 are scanned images from Self Service magazine that showcase the use of the typeface Galeere.

As an attempt to discover new books and ideas, I (along with my fellow design fellow, Vance) have been making a habit of visiting the Walker Art Center’s expansive library every Friday afternoon. Never before having such a rich resource available to us, we inevitably stumble upon many, blog-worthy, printed materials. Pending their level of worthiness as well as their state of ‘oh-snap-ness’, we will simply document our findings under the categorization of “Friday Finds.” Ideally, our “finds” will be posted shortly after the find has been made to preserve their freshness. (Please excuse this commencing “Friday Finds” post as it is already 4 days old.)

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During my most recent visit, I found a stack of Avalanche, a magazine that existed from 1970-1976.

Thanks to Emmet for borrowing me Conception. Conceptual Documents 1968 to 1972 (designed by Stuart Bailey), I was able to learn a little more about Avalanche magazine. Here are some quotes from the book describing the magazine:

“…Avalanche, first published in Fall 1970 in New York by Willoughby Sharp and edited by Eliza Béar, developed a characteristic style of a straightforward purportedly unmediated platform for conceptual art and documentation.” (pp. 157)

“The aim of publishing, as represented in…Avalanche and similar publications, was to present primary…information, as far as possible, to let people think about art for themselves.” (pp. 165)

Certainly Avalanche proved to be an important conceptual art publication in the 1970s. And from a design perspective, the cover of the magazine had the right moves with its bold logotype set in Helvetica in combination with the no-nonsense portraits.

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Balloons, Spilt Liquids and Paper Constructions

Are the prior mentioned the inklings of a full-forced zeitgeist in graphic design and photography? Or simply the whimsical fancies of a small but distinctive community of visual communicators and cultural producers? My mini-endeavor into this subject matter leads me to believe that it lies equally between the two.

Concerning these three elements and their pervasive tendencies, not much explanation is needed (with the images (fig.1 – fig. 8) shown below as proof) when attempting to convince someone that each (or a combination of) has the potential to become the new black.

And while I am not one who has actively pursued the practices of trendspotting, I could not help but notice the recent and many occurrences of balloons, spilt liquids and paper constructions on a variety of design blogs and portfolio websites.

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There is no doubt that each of these elements are visually interesting, but besides that, I have had little luck finding an explanation to their existence (or even their emergence) in current graphic design and photography. Perhaps the use of spilt liquids originated with Swedish designers, RGB6 and their poster for the typeface Kada. While it’s even possible that the use of paper constructions could have stemmed from the intricate workings of German photographer, Thomas Demand.

Is there a cultural barrier between the meaning of these elements and my understanding of them? Certainly, as a young designer in the United States, I have not ruled out the possibility that much of this is beyond me, especially considering that a majority of these designs come out of Europe. Specifically, I am most curious to know if the black balloon is a symbol or a metaphor that has some greater meaning.

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As an attempt to better understand what balloons, spilt liquids and paper constructions could possibly entail within the context of graphic design and/or photography, I have started a word list (see below). I invite anyone to offer their insights, stories and opinions on the prevalence of these elements.

Balloons: celebration, youthfulness, pop, expressive/abstract typography, party, etc…

Spilt Liquids: spontaneity, irresponsibility, mysteriousness, happy accidents, playfulness, etc…

Paper Constructions: exaggerated representations of actual objects, a play between reality and fabrication, artificiality, etc…

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fig. 1: Top Left: RGB6 / Top Right: Benoit Lemoine / Bottom Left: RGB Studio / Bottom Right: With All Ten Fingers

fig. 2: Top Left: Conor & David / Top Right: Mistake the Beautiful (Bryan Dalton) / Bottom Left: Acne Paper / Bottom Right: Stiletto NYC

fig. 3: Top Left: RGB6 / Top Right: Olivier Pasqual / Bottom Left: Olivier Pasqual / Bottom Right: Round

fig. 4: Top Left: Mejdej / Top Right: Mejdej / Bottom Left: Olivier Pasqual / Bottom Right: Olivier Pasqual

fig. 5: Top Left: Mattis Dovier / Top Right: Mattis Dovier / Bottom Left: James Musgrave & Anthony Sheret / Bottom Right: James Musgrave & Anthony Sheret

fig. 6: Top Left: Mattis Dovier / Top Right: Olivier Pasqual / Bottom Left: Thomas Adank / Bottom Right: Thomas Adank

fig. 7: Top Left: RGB6 / Top Right: Fulguro / Bottom Left: Fulguro / Bottom Right: Node Berlin

fig. 8: Top Left: Pixelgarten / Top Right: Pixelgarten / Bottom Left: Stiletto NYC / Bottom Right: Stiletto NYC

Purchase Peter Seitz: Designing a Life at the Walker Shop.

Today we received the very first, fresh off the assembly-line, Peter Seitz book.

By studio request, here is an image of the unfolded book wrap. Dependent upon which way the wrap is folded down, there are two possible cover designs (see fig. 8–11 in my previous post, From Ulm to Minneapolis: Tracing Peter Seitz’s Modernist Traditions).

Purchase Peter Seitz: Designing a Life at the Walker Shop.

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Have you ever questioned how you would create an entire book about the work of another graphic designer? It seems, more often than not, that monographs do not concern designers. Rather, they encompass the works of a visual artist, photographer, filmmaker, etc. Perhaps the disproportionate number of designer monographs is due to the fact that few designers create a consistent style for themselves. Or is it, simply, that most designers do not yield the quality of work that is suitable for something as “artful” as a monograph? For me, the thought of composing a book that appropriately reflected the work of a highly experienced graphic designer, without allowing my own design or typographic treatments to infringe upon, misrepresent or overshadow their work, was a challenging, but thought provoking notion. Surely, I would have never guessed that my first contribution for a large book (or a monograph for that matter) would be in honor of Peter Seitz[1], one of the most influential graphic designers to ever work in Minneapolis—a designer and a teacher who I and many others in the profession owe a debt of gratitude toward.

Peter Seitz: Designing a Life is a soon to be released monograph, published by the Minneapolis College of Art and Design (MCAD) on the occasion of the thirtieth anniversary of the founding of AIGA Minnesota. The book tells the story of Seitz’s esteemed training at both the Hochschule fr Gestaltung Ulm (HfG Ulm) and Yale University, his pioneering work for the Walker Art Center, his establishment of several visionary design studios in Minneapolis, as well as his commitment to design teaching at MCAD. Accompanying the book’s essays and an interview with Seitz are eighty-plus pages of full-color project images, defining each period of Seitz’s career as a visual communicator.

The opportunity to become the designer of Peter Seitz: Designing a Life arose while I was working as a senior designer at DesignWorks, a student-employed studio hosted by MCAD, which produces professional design projects from beginning to end. The studios director, Pam Arnold, who was once a student under Peter Seitz, was able to secure Kolean Pitner (design historian and faculty member at the College of Visual Arts, St. Paul, Minnesota) and Bruce N. Wright (a former colleague with Seitz and editor of Fabric Architecture magazine) as the writers for the book. Also asked to join the team was Andrew Blauvelt (Design Director and Curator, Walker Art Center) who served as the design director and as an essayist for the book. Aside from our primary group of contributors, we were all very fortunate to receive assistance from many talented people from MCAD, the Walker Art Center and AIGA Minnesota.[2] Contributions from the staffs of each of these institutions was most fitting considering that all were the grounds for some of Seitz’s most renowned accomplishments.

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Throughout the duration of this project, we met with Peter on multiple occasions. Each visit brought new and intriguing stories: from his time as a student at HfG Ulm)[fig. 2], to assisting Max Bill in the printing of one of his posters[fig. 3], in receiving harsh critiques from Paul Rand at Yale University, as well as his initial interests in computer aided graphic design.

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But perhaps the most compelling of them all were the stories that Peter told describing some specific moments during his time as Curator of Design and Editor of Design Quarterly at the Walker Art Center (a position he held from 1964 to 1968)[fig. 1]. During one of our visits, we had some actual samples of his work on hand and when he came across the piece he had designed for the 1966 Biennial of Painting and Sculpture (a call for entries)[fig. 4], he described to us the challenge of seeking approval for his then, unconventional design. Seitz contested that he was the singular member of the Walker Art Center’s design studio in the mid-1960s and he explained how he often had no one to show his design sketches or ideas to. Instead, Seitz had made a habit of reporting to Martin Friedman, the Walker’s director (Friedman was director from 1961 to 1990). In the particular instance of this piece for the 1966 Biennial of Painting and Sculpture, Friedman had attempted to persuade Seitz to eliminate the skewed and overprinting grey type, suggesting that it was redundant and too progressive for a Midwest audience. Seitz then explained to us that he had insisted on standing by his design solution, arguing that its ability to communicate was not compromised.

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As I have become more and more familiar with Seitz’s body of work, it was this very project (and the story of) that I came to appreciate the most. Created in a bold European modernist aesthetic, the simple elements (sans serif type and graphic colors) allow for the overprinting typographic composition to function as an unforgettable graphic style. Interestingly enough, this expression of overprinting and abstracted typography can be traced back to Seitz’s work as an undergraduate student at HfG Ulm. It was here that Seitz had hand-rendered a similar, skewed and overprinting, composition titled Exactness through Inexactness, 1956.[fig. 5] This compositional exercise was one that was conceived by HfG Ulm instructor Toms Maldonado and is at times referred to as “imprecision with precise means.” The concept being that a precise or an exact method–for example, something as precise as an arrangement of halftone dots or a typographic composition–can be repeated and rotated very slightly to, in effect, create an imprecise or inexact formation.

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During his tenure at the Walker Art Center, Seitz went on to produce many stylistically similar and equally as distinctive pieces to his design for the 1966 Biennial of Painting and Sculpture: In a poster for an exhibition titled Prints from London[fig. 6], Seitz intentionally decreased the leading in between the words of the exhibitions title to create an overprinting and repeating pattern of type; While in another poster for the 1968 Biennial of Painting and Sculpture[fig. 7], Seitz again utilized overprinting and repeating typography to bring emphasis and abstraction upon the word “biennial”.

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These examples are just some of the many nuances found throughout Seitzs work that can be admired. And as the designer of the book, it was my intention to showcase these projects in an engaging fashion. One way in which I could explicitly achieve this was with the cover wrap for the book. On the poster side of this wrap, Seitz’s most graphic and memorable works (many of them posters) from throughout his career are arranged as an amalgamation of modernist designs. While as a means of referencing the inexact process of gathering Seitz’s original works for documentation, these posters are composed in a more human, insouciant way that offsets Seitz’s strong dedication to the grid. Additionally, the wrap for the book’s cover has the ability to be folded in two different ways[fig. 8--11], thus creating two different “framings” of Seitz’s work when folded around the cover.

To learn more about Seitz, his instrumental design studios, his many accomplishments and his substantial influence on a large generation of designers, see Peter Seitz: Designing a Life, available in early November at the Walker Art Center bookshop and through the AIGA Minnesota website.

Notes:

1. The following is an abbreviated biography of Peter Seitz’s educational and professional accomplishments:

Peter Seitz was born in Schwabmnchen, Germany in 1931. After attending the Augsburg Academy of Arts in Augsburg, Germany, Seitz went on to study visual communication at the Hochschule fr Gestaltung Ulm (HfG Ulm) from 1955 to 1959. At HfG Ulm, Seitz studied under such influential designers as Max Bill, Otl Aicher, Toms Maldonado and Walter Zeischegg.

Following his time at HfG Ulm, Seitz arrived in the United States to study graphic design and photography at Yale University with Paul Rand, Norman Ives, Bradbury Thompson and Herbert Matter. In 1961, Seitz graduated from Yale with a MFA degree in graphic design and photography.

Seitz’s early professional career is defined by his time as a designer with the architectural firm I.M. Pei and Associates, as a faculty member at the Maryland Institute College of Art, Baltimore and as Curator of Design and Editor of Design Quarterly at the Walker Art Center, Minneapolis.

After leaving the Walker Art Center in 1968, Seitz established his first studio, Visual Communications, Inc., in Minneapolis. Then, joining with various partners specializing in architecture and design, Seitz helped to establish one of his most momentous studios, InterDesign Inc., which focused on multidisciplinary projects.

While continuing on with his professional endeavors (within studios such as Seitz Yamamoto Moss and Peter Setiz and Associates), Seitz also became an involved and successful design instructor at the Minneapolis College of Art and Design. In 1996, MCAD honored Seitz with the title professor emeritus. Seitz, now retired, lives in rural Pepin, Wisconsin.

2. Contributors affiliated with the Minneapolis College of Art and Design include: Pam Arnold, Director of DesignWorks; Vince Leo, President of Academic Affairs; Mike O’Keefe, President of MCAD; Rik Sferra, Photographer; and Patrick Kelley, Alumni Photographer. At the Walker Art Center: Andrew Blauvelt, Design Director and Curator; Pamela Johnson, Editor; Greg Beckel, Image Production Specialist; Cameron Wittig, Photographer; Gene Pittman, Photographer; and Barb Economan, Archivist. At AIGA Minnesota: Jim Madson, President.

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This past summer, as I awaited my appointment as a Walker Art Center design fellow, I was fortunate enough to travel throughout the Netherlands. I visited such places as the Nijhof & Lee bookstore and the Stedelijk Museum CS in Amsterdam, as well as the Werkplaats Typografie in Arnhem (a combination of places that any design nerd, like me, would appreciate). My final (and favorite) destination brought me to Rotterdam, a city known for its distinctive modern architecture, the architects who are based there (i.e., Rem Koolhaas and MVRDV) and its institutions that are dedicated to architectural development, such as the NAi (Netherlands Architecture Institute).

Unfortunately, my time in Rotterdam was quite limited and I only spent a little over 24 hours in the city. Despite this, I did make it a point to visit the Museum Boijmans van Beuningen (MBvB) in Rotterdams Museumpark.[fig. 1]

As a graphic designer, I was particularly interested in touring this museum because I was aware of the fact that Armand Mevis and Linda van Deursen had, in recent years, created a new visual identity for the museum.[1] The identity, which is primarily typographic[fig. 2], is subtly displayed throughout the museum, never speaking too loudly. Admittedly, another reason for visiting the MBvB was because I had learned that Wim Crouwel was the museums director from 1985 to 1993. Of course, I wasnt expecting to see his work, but the thought of seeing where one of the greatest Dutch graphic designers had spent 8 years as a museum director was certainly not stopping me from attending. I also found it intriguing that Crouwel had surpassed the more familiar role of the design director to become the leader of the entire museum.[2]

As for the rest of my visit to the MBvB, I was very impressed with their diverse collection of art. Much of the museum housed medieval paintings, while its recent and contemporary expansion[3] was dedicated to a collection of modern art. It was here that I discovered my favorite work from the museum in Nick Roerichts Stackable tableware TC 100.

By the end of my visit to the MBvB, I had collected over a dozen different print materials that were branded with the MBvB aesthetic. In terms of type and the institutional need, many of the pieces are no different to the materials designed here at the Walker. And while considering that I am now immersed in the practices of applying and creating identity material for a contemporary museum, the conversation of how the Walkers house style compares to that of the MBvBs and other museums from around the world seemed pertinent to this new blog on design.

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Shown above [fig. 3--4] are just some of the printed materials I collected from the MBvB. As told by the credits on the back of many of these pieces, the Dutch design firm Thonik has since taken the reigns from Mevis and van Deursen in further establishing the museums identity. Visibly bolder and relying less on subtle typographic hierarchies, Thoniks designs for the MBvB have demonstrated the extremes to which a museums identity can evolve. In comparison to the Walker Expanded identity, which was conceptualized as an identity that could either subside or intensify depending on the context of the project, Thoniks solutions seem to lack this distinction. Could it be that they have overemphasized the multiple layers of the custom-designed typeface? Or have they understated the relationship between type and image?

Notes:

1. A synopsis of Mevis and van Deursens creation for MBvB is explained in the following excerpt from Angus Hyland and Emily King, Visual Identity and Branding for the Arts (London: Laurence King Publishing, 2006), 113:

…its core component is a custom-designed proprietary font (digitized by Radim Pesko) that is loosely based on Lance Wymans multi-layered identity design for the 1968 Mexico City Olympics. In the case of Wymans font the repeated outlines of the individual characters referred to motifs in Mexican folk art, but in this instance they are a metaphor for the museums new wrap-around building and the curatorial structures expressed by this architecture.

2. Crouwel addresses the challenges of being the director of a major museum in an interview with Michael C. Place for the Creative Review Blog (CRBlog). The following is an excerpt from Striking The Eye: An Interview With Wim Crouwel, posted on July 10, 2007:

Michael C. Place: When you became director [of the Boijmans van Beuningen Museum] you were then the client. Did you take anything from your time as designer for the Stedelijk that helped you in commissioning design for the museum?

Wim Crouwel: Oh, yes. I adopted many of the same techniques – of critiquing after and dealing with the curators on behalf of the designer. I had 15-20 years of experience working as a designer which I wanted to bring to my role as director. Sandberg, the director [of the Stedelijk], was a practising typographer and when we had meetings he always had a ruler and was drawing type. But when I became a director myself I found it was difficult to manage the responsibilities of director and be as involved in the design as I would have liked, so I hired two people to work with me. My brief to them was not work with my grids but rather make the Institute visible through a series of catalogues and posters for the museum. After a period of time we looked at the work as a set, and found that is was quite mismatched, it did not seem to have a single voice. So, I had to think how to address this…

To read the full interview, visit: Creative Review Blog

3. Like the Walker Art Center (and many other newly renovated museums for that matter), the Museum Boijmans van Beuningen has recently undergone an expansion that was completed in May of 2003. The expansion is a complimentary and modern addition to the classical architecture of the museums original building.