Or would they? In the 1930s, graphic or industrial designers wouldn’t think twice about designing cigarette packages. Now, it is the number one no-no. Anyone with a social conscience would cut off their right (or left depending on their orientation) hand before contributing to the danger of others. But back then, before health facts and warnings, cigarette packs were well-designed by some masters, like Raymond Loewy’s iconic Lucky Strike bullseye.
The now mythic Gastrotypograhicalassemblage (35 feet wide by 8.5 feet tall) three-dimensional mural designed by Lou Dorfsman with typography by Herb Lubalin and Tom Carnase was finished in 1966. In 2008, it was announced that The Culinary Institute of America in Hyde Park, New York, would restore and display it on their campus. I recently asked Stephan Hengst, CIA’s Marketing Director, to tell me more about the restoration and future for this Mid-Century Modern masterpiece.
Back in 2011 (oh so long ago), I began a series of “lost designers.” The first and only entry was on Gustav Jensen, the Danish born designer whose work was elegantly streamlined and daringly multidisciplinary. There will be more in my series, but for now a reprise of sorts. Here is the original post, but in this post are images I did not show back then. This issue of PM (Production Manager) devoted to Jensen helps him bridge the gap between the disciplines. It also shows what a special draftsman he was.
Look closely at these wonderful book jackets. Now, look again. Can you tell a book by its cover? More to the point, can you tell a woman’s bag by its book cover. What?!! These are not books but handbags with redrawn and painted covers based on original book cover designs and found in the various collections and accessory lines by French clothing designer Olympia Le-Tan, who, for those who know the work, is the daughter of the illustrator Pierre Le-Tan.
Can type or lettering be sensual, seductive or sexy? Let’s return to the land of l’amour, l’amour et la vie sexuelle — a little continental soft-core magazine called “Séduction.” The lettering alone may not do all the seducing but in context it’s more suggestive of taboo themes than asexual Helvetica. The variations on the word “Séduction” show that there are many moods in both lettering and the erotique act.
Tom Davie produced a typography print titled “Sweepin’ Down the Plain,” created to aid in the tornado recovery effort currently taking place in Moore, Oklahoma. As a new professor of graphic design at The University of Oklahoma, he wrote me: “I was compelled to use my passion for type as way to help sustain awareness and funds for schools and relief organizations located in Moore and central Oklahoma.”