50 Designers, 50 States, 50 New License Plates

One designer with a penchant for the past took on a monumental design project that involved 50 designers, 50 days, and all 50 states. After he got fed up with poorly designed license plates, Jonathan Lawrence, lead designer at Matchstic in Atlanta, Georgia, started the State Plates Project and actually did something about it. Read rest of story here.

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Meet Montreal Design Studio Valleé Duhamel

Montreal-based designers and art directors Julien Vallée and Eve Duhamel continually surprise and delight their clients (and their clients’ customers), by creating complex narratives that marry lo-fi, hand-rigged objects with high-end production techniques. The results are often mind-boggling and leave the viewer to wondering, “How’d they do that?” Their video and animation work for clients like Reebok, Hermès, MTV, Coca-Cola, and The New York Times Magazine, as well as a smattering of niche design publications and events, has garnered awards from Adweek, Communication Arts, and Applied Arts, among others. And Vallée, who’s also a Young Guns winner, has already had his monograph Rock, Paper, Scissors, the Work of Julien Vallée published by Gestalten. Read rest of story here.

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Two Type Designers to Watch

In the February issue of Print, we reached out to highly respected type-design aficionados and asked them which type designers we should all be watching. Each person featured has a unique take on their craft, and has had success with at least one typeface.

Here are two more type designers to follow in 2015.

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Berton Hasebe

Sunnyside, NY; www.bertonhasebe.com

“Berton brings a freshness to typeface design that is rarely seen. His inventive fonts are reshaping the ways in which typographers, and their audience, are accustomed to thinking about type.” —Ken Barber

“While studying graphic design, I liked the idea of using the typefaces I drew in my own work. I appreciated the time and effort that went into making a typeface, and realizing how much experience is necessary motivated me to continue practicing,” Berton Hasebe says. Taking that initiative, he attended the Type and Media master’s program at the Royal Academy of Art, The Hague. While there, he designed Alda, which started as an exploration of different weight characteristics of letterforms, comparing them to physical objects. He liked seeing how far he could push type design standards and create something that would still be relevant and useful. Although Hasebe still likes to push boundaries, he is a bit more practical in his approach. Read rest here.

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Terrance Weinzierl

Grand Rapids, MI; www.monotype.com

“Terrance is a terrific young designer whose work ranges from delightfully fanciful calligraphic lettering to industrial-strength sans serif typefaces—and pretty much everything in-between.” —Allan Haley

“When I found out that not all type designers are dead, and that it was a contemporary practice, I wanted to learn more,” Terrance Weinzierl recalls. “I remember exploring Adobe Caslon Pro in depth, and learning about OpenType features. Then, in an advanced typography class, I was assigned to design a typeface. I was hooked.” Read rest here.

What Does it Take to be a Great Leader?

Some people think that to be a successful creative business leader you need a killer instinct or take-all mentality. But Stanley Hainsworth, founder and chief creative officer of Tether, says true leadership requires generosity, compassion and a willingness to let others lead.

Stanley Hainsworth may be the most eccentric person I know, but he is also humble and kind, which may be the key to his success. I’ve witnessed the hoopla at industry conferences after he presents to the crowd. Creative professionals flock to him to ask questions, get advice, or just be near him (and his hair). Hainsworth exudes a certain je ne sais quoi and he takes time with everyone who approaches him, intently listening to their questions and offering guidance, all with a smile on his face.

Hainsworth single-handedly started Tether in 2008 after spending three and a half years as the chief creative officer of Starbucks. Since then, the creative firm has moved three times in its Pioneer Square neighborhood of Seattle to accommodate a growing staff of interactive, industrial and graphic designers, writers, and videographers. Tether now has 75 employees and a second studio in Portland, Ore.

I asked Hainsworth about his path to success and how he inspires his staff to continually churn out amazing work for clients such as BMW, Red Bull, Gatorade and more. Read the rest of the article here.