David Carson G ra p hic d es igner U SA Carson became the art director of Transworld Skateboarding magazine in 1984, and remained there until 1988, helping to give the magazine a distinctive look. By the end of his tenure there he had developed his signature style, using “dirty” type and non-mainstream photographic techniques. He was also the art director of a spinoff magazine, Transworld Snowboarding, which began publishing in 1987. Steve and Debbee Pezman, publishers of Surfer magazine (and later Surfers Journal) tapped Carson to design Beach Culture, a quarterly publication that evolved out of a to-the-trade annual supplement. Though only six quarterly issues were produced, the tabloid-size venue—edited by author Neil Fineman—allowed Carson to make his first significant impact on the world of graphic design and typography—with ideas that were called innovative even by those that were not fond of his work, in which legibility often relied on readers’ strict attention. For one feature on a blind surfer, Carson opened with a two-page spread covered in black. A stint at HOW (a trade magazine aimed at designers) followed.
Graphic desig n er USA Carson became the art director of Transworld Skateboarding magazine in 1984, and remained there until 1988, helping to give the magazine a distinctive look. By the end of his tenure there he had developed his signature style, using “dirty” type and non-mainstream photographic techniques. He was also the art director of a spinoff magazine, Transworld Snowboarding, which began publishing in 1987. Steve and Debbee Pezman, publishers of Surfer magazine (and later Surfers Journal) tapped Carson to design Beach Culture, a quarterly publication that evolved out of a to-the-trade annual supplement. Though only six quarterly issues were produced, the tabloid-size venue—edited by author Neil Fineman—allowed Carson to make his
David Carson first significant impact on the world of graphic design and typography—with ideas that were called
David Carson
the art director G ra f i sc h o nt w eor fpe r U SA nsworld Skate boarding mag ae in 1984, and remained there il 1988, helpi ng to give th e gazine a disti nctive look. B y end of his tenu re there he had eloped his sign ature style, us“d i r t y ” t y p e a nd non-mainm photograph ic techniques.
was also the art director s p i n o ff m a g a z i n e , Tr a n d Snowboard ing, which publishing in 1987. and Debbee P ezman, pubof S
Carson 19 8 4 ,
became and
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remained
art there
director until
of 19 8 8 ,
Tr a n s w o r l d
Skateboarding
helping
give
to
the
magazine
magazine
a
in dis-
tinctive look. By the end of his tenure there he had developed his signausing
“dir ty”
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the
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Snowboarding,
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19 8 7.
S t e v e a n d D e b b e e P e z m a n , p u b l i s h e r s o f S u r f e r m a g a z i n e (a n d l a t e r S u r f e r s J o u r nal) tapped Carson to design Beach Culture, a quar terly publication that evolved
out of a to-the-trade annual supplement. Though only six quarterly issues were produced,
the
tabloid-size
venue—edited
by
author
Neil
Fineman—allowed
Car-
son to make his first significant impact on the world of graphic design and typog-
raphy—with ideas that were called innovative even by those that were not fond of his work, in which legibility often relied on readers’ strict attention. For one feat u r e o n a b l i n d s u r f e r, C a r s o n o p e n e d w i t h a t w o - p a g e s p r e a d c o v e r e d i n b l a c k .
A
stint
at
HOW
(a
trade
magazine
aimed
at
d e s i g n e r s)
followed.
Gr ap hi c
style,
D A V I deDsi gnCer USAA R S O N
ture
David Carson
Graphic designer USA
Carson became the art director of Transworld Skateboarding magazine in 1984, and remained there until 1988, helping to give the magazine a distinctive look. By the end of his tenure there he had developed his signature style, using “dirty” type and non-mainstream photographic techniques. He was also the art director of a spinoff magazine, Transworld Snowboarding, which began publishing in 1987. Steve and Debbee Pezman, publishers of Surfer magazine (and later Surfers Journal) tapped Carson to design Beach Culture, a quarterly publication that evolved out of a to-the-trade annual supplement. Though only six quarterly issues were produced, the tabloid-size venue—edited by author Neil Fineman—allowed Carson to make his first significant impact on the world of graphic design and typography—with ideas that were called innovative even by those that were not fond of his work, in which legibility often relied on readers’ strict attention. For one feature on a blind surfer, Carson opened with a two-page spread covered in black. A stint at HOW (a trade magazine aimed at designers) followed.
Sjoerd Hendrik de Roos Nederlandsletterontwerper,boekbandontwerper en kunstenaar.
Vanuit Drachten, waar zijn vader schoenmaker was, verhuisde hij op jonge leeftijd naar Amsterdam. Daar volgde hij van 1889 tot 1891 een opleiding tot lithograaf. Aansluitend studeerde hij van 1892 tot 1895 aan de Teekenschool voor Kunstambachten en van 1895 tot 1898 aan de Rijksacademie voor Beeldende Kunsten. In 1907 trad hij in dienst van Lettergieterij Amsterdam voorheen N. Tetterode, waar hij volledig tot ontplooiing is gekomen. Hij werkte daar tot in 1941 en werd opgevolgd door Dick Dooijes.
In 1912 ontwierp hij, als eerste Nederlander in 150 jaar, een nieuwe drukletter, namelijk de Hollandsche Mediæval. In totaal heeft hij twaalf drukletters ontworpen, waarvan de Hollandsche Mediæval, de Egmont (1932), de Libra (1938) en de De Roos Romein & Cursief (1947) de meest succesvolle waren. De linker zegel is ontworpen door De Roos Zijn ervaring als typograaf uitte zich ook in het ontwerp van een postzegel die deel uit ging maken van een serie van vier die in 1923 verscheen naar aanleiding van een door de PTT uitgeschreven prijsvraag. De Roos was, als een van de prijswinnaars, verantwoordelijk voor het ontwerp met een posthoorn en een groot uitgevoerd waardecijfer. De Roos werd in zijn jonge jaren geïnspireerd door de Arts and Crafts beweging, waarbij kunst en ambachtelijkheid elkaar aanvulden. Een mooi voorbeeld daarvan is de door hem verzorgde uitgave van Kunst en maatschappij (1903) van William Morris. Als aanhanger van Ferdinand Domela Nieuwenhuis probeerde hij ook het ideaal van ‘kunst aan het volk’ te verwezenlijken.
Anna Garforth
Typography designer
AnnaGarforthisaLondonbasedartisttaking theartworldbystormusingherdiverseskills touniquelycapturetheaestheticsof nature andtransformtheworldaroundus.Neverone to be defined by an individual medium.
Garforthtakesamultifariousapproachto herartpracticecreatinganeclecticbodyof workutilizingadiversearrayofskillssuchas illustration,designandcraft.Shehasworked andexhibitedinternationallyworkingwithbig brands,creativeagenciesandindependent clientsinlocationssuchasHongKong,the UK and Holland
“She makes type out of biscuits and rubbish and moss.”
