“The Mac is both the worst and the best thing [to happen to design in the past 10 years]. I don’t really like the damn thing, but I’m using one to key this article. It not only has replaced most traditional tools, but in many cases it also has replaced the biggest one of all—brains.”
—Rick Tharp, “Graphic Design in the Last 10 Years: Tharp’s Picks & Pans,” February 1996 (HOW’s 10th anniversary issue)
Mementos of M&Co.’s Christmas gifts—like crushed, yellow-lined paper paperweights and desk caddies for pencils, rubber bands and paper clips using the M&Co. classic imagery and type selections—are still seen in offices all over town. “We want to give them something they’ll never forget; something that will knock their socks off,” says Tibor Kalman.
“In 1989 When I first did Beach Culture, people said, ‘Oh, he’s just a flash in the pan.’ Well, if that’s the case, I’m happy to have at least been in the pan.”
—David Carson, February 1996
“I’ll tell you why I got into computer graphics. Fear. I was afraid I’d be left behind. … That’s why I bought a computer-graphics system.”
—Primo Angeli, in an ad for Time Arts Lumena design software, May/June 1988
“Clients have realized—in both advertising and design—that the best work is not only being done in New York City. It’s not where you are, it’s how you think.”
—Joe Duffy, December 1987
Electronic stripping, retouching, resizing, color matching … you name it, and the task can probably be performed by the Scitex Response System.
—headline in HOW’s first issue, December 1985
A Mac alone does not a designer make: Technology is not a substitute for design competence. In fact, designing with computers demands as much—or more—artistic talent as creating with a pencil and paper.
—headline in February 2000
“The ‘90s will probably be a full-blown exploration of the technologies that are currently making an impact. There is very little aesthetic in general regarding technology right now, because these are all new technologies and fairly unexplored by some of the better designers. … It should be an interesting time, not necessarily for the understanding of the tools, but for the development of new processes and a new language.”
—April Greiman, “What’s Next?” February 1990
“Computers do not make everything look alike. It’s just that so many people tend to sit at the computer and do the same things.”
—Scott Makela, August 1994
“In the year 2025, our profession as we know it will not exist because everyone will be a graphic designer.”
—Michael Bierut, February 2005
“I’ve learned that if we stay true to ourselves and keep at it, we’ll thrive.”
—Steven Morris, February 2003
“By mid-May, we had more than 50,000 page hits and 1,000 site visitors per week.”
—HOW editor Kathleen Reiman on the launch of the first HOW website, August 1997
Nearly everyone on the Web uses a handful of popular search engines to navigate online … like Yahoo!, AltaVista, Excite, InfoSeek, Lycos, HotBot and Webcrawler.
“Once you think you have the formula for good design, you’re dead. You cease to be a good designer at that point.”
—Michael Vanderbyl, December 1992
“Design innovation is not limited to the East or West Coast.”
—Bill Grant, February 2002
“We run across opposition to the Mac all the time, so we simply don’t tell [clients] that the work was done on a Mac.”
—Rod Hoffman, March/April 1990
Advertisers in early 1990: Daige, Portage and Lectro-Stik waxers, Edmund Scientific magnifiers, Pelikan and Winsor & Newton paints, Faber-Castell colored pencils, Badger airbrushes, Chartpak transfer lettering
“Designers will have less control over the ‘look’ but more of a role in shaping the ‘feel.’ This is a big change—and a big opportunity. The task of designing will be more layered, more multidimensional, more theatrical. We will direct more than design. We will have to think more—about cause and effect, about here and there, about now and later. We will have to understand more—about space and time, about sound and motion, and about languages and cultures other than our own.”
—Jessica Helfand on the next 10 years of web design, August 1998
Doesn’t your work deserve real Fome-Cor®?
—ad in March/April 1989
“In an age of abundance, appealing simply to rational, logical and functional needs is insufficient. If those things, experiences or images aren’t also pleasing to the eye or compelling to the soul, fewer people will buy them. Mastery of design—as well as empathy, play and other seemingly ‘soft’ aptitudes—is now a key for individuals, firms and consumers to stand out in a crowded market.”
—Daniel Pink, December 2004
“Traditional communication design and the digital revolution will certainly blend and integrate, as clients’ communications needs rarely involve just one medium.”
—Katherine McCoy, February 2002
“I want to embolden young [illustrators] to say to editors that they have as much to say in their drawings as the guy who gives us the written word.”
—Marshall Arisman, January/February 1998
“In the early days of computer graphics, a computer-generated image was interesting in itself, just as in the early days of photography a photograph was interesting in itself. In both cases, the technology has advanced and the art has developed out of, and away from, the technology.”
—John Bonner, January/February 1998
Hand-painting photographs is in vogue again.
—headline in January/February 1998
“Packaging design is the most exciting design field of all because it has to do everything—brand identity, corporate identity. It also has to be competitive to everything else on the shelf.”
—Primo Angeli, March/April 1989