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As a teenager, Art Paul had a rebellious nature, so he was surprised
when his high school art teacher submitted his work to a scholarship
competition—that he won—for the School of the Art Institute of Chicago.
His education was interrupted when he volunteered for Air Corps Service
in World War II. On his return, Paul chose instead to attend the
Institute of Design at the Illinois Institute of Technology.
He was working as a freelance illustrator when Hugh Hefner offered
him artistic autonomy in starting a magazine from scratch—Paul accepted,
and Playboy was born. At the beginning, Hefner and Paul were the
only two employees and had what Paul describes as an ideal editor–art
director relationship of mutual respect and flexibility.
His design of the Playboy rabbit is said to be so successful
because it was a symbol rather than a trademark. It is a testament to
Paul’s design acumen that the rabbit invokes universal recognition even
without the Playboy name.
Paul led what Print magazine called the “Illustration
Liberation Movement,” and in so doing, made Playboy the most
visually exciting magazine of the day. At first, because Playboy
was financially limited, Paul turned to lesser-known Chicago artists in
whose work he had faith. He is credited with supporting many well-known
artists early in their careers, artists such as Brad Holland, Paul
Davis, Ed Paschke, Kinuko Craft and Robert Lostutter, to name a few.
Paul has earned numerous awards for his work for Playboy and
for his own illustration, photography and design, including a number of
special awards: from the Society of Typographic Arts, the Art Directors
Club of Boston, the Art Directors of Philadelphia, the Polycube Award
from the City of Milan, Italy, and, from the IIT Institute of Design,
the Professional Achievement Award.
Paul once stated, “Good design principles should apply to bubble gum
wrappers as well as museum posters.”
Is the government using graphic design to incite panic for political profit? Vienne looks at the color-coded alert system and sees red. Milton Glaser says “give puce a chance.”
Section: Tools and Resources -
information design, Voice, safety
More at designandviolence.moma.org
"The Crisis of Credit Visualized" (2008), an animation designed by Jonathan Jarvis to explain the global economic crisis (and part of the AIGA Design Archives), has been featured on "Design and Violence," MoMA's experimental online curatorial project spearheaded by Paola Antonelli. Selected by the project curators, Jarvis' work is described by Gillian Tett of the Financial Times and intended as a prompt for public discussion on the site.
Section: Inspiration -
information design, graphic design, animation
Abbott Miller is recognized with a 2014 AIGA Medal for design that elevates culture, fusing content and form through elegant and incisive publications, exhibitions and identities.
Section: Inspiration -
book design, communication design, editorial design, environmental design, exhibition design, graphic design, identity design, AIGA Medal
AIGA is proposing transformative change to assure a robust and relevant resource for the next generation of designers. AIGA’s board of directors invites your perspective and encourages members to comment and vote on two options for the future.
AIGA Insight, governance, AIGA news
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