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Connie Asher started a freelance business in 1977, in a home studio
handsomely equipped with a T-square, a few sheets of press type, a
bottle of rubber cement and a $49 Sears drawing board. Today the company
is one of Denver’s most respected graphic design firms, creating design
solutions for businesses with national and international markets. The
formula for the studio’s strength is part people and part process—a
collaborative approach that taps into the core wisdom of each client
organization to produce materials that work.
Asher holds a BA in fine art from South Dakota State University. She
is a founding member of the Colorado chapter of AIGA, and a former board
member of the Art Directors Club of Denver. She received a Sappi “Ideas
that Matter” grant in 2003, and won the Belmar Award for Achievement in
Art and Design in 2004. By the time she sold the business in 2007,
Asher Studio had amassed more than 115 local and national awards for
design excellence, and the firm continues to thrive.
Asher has adapted to retirement better than anticipated, relishing a
little more time for gardening, hiking, golf, travel and
silversmithing—her newest passion. She follows design news with interest
and still views the world with a designer’s eye. “I collect old pine
boxes and metal ashtrays from the 1960s with odd lettering and juicy
logos and slogans,” she says. “I still hate junk mail, double spaces
after periods, and I’m continually entertained by the quirky hand-drawn
typography on the Colorado license plate.”
In this Q&A, Fred Cisneros offers an inside look at how he’s successfully run his studio in Santa Fe, New Mexico for the past 20 years—and what he’ll do adapt to the future.
Section: Inspiration -
interview, business plans, human resources, collaboration, new business development, studio management, business
In 1964, Saul Bass hired me as a strategic logo design planner, account
manager, and director of new business contacts. I was young, just a few
of UCLA, and I was attracted to Saul's rational approach to great
logo design in the ‘60s. Saul was captivating as he described his
reasoning why his great
designs worked: thoughtful planning first, design next. Then it all
came together which I call credibility-based logo design. This new
resulting process happened one night in Saul's office.
In honor of the AIGA Centennial in 2014, we take a brief look at AIGA history through the last century.
Section: About AIGA -
Scrapped bicycle parts meet iconic works of art in Jenny Beatty’s 100 Hoopties project, which bridges her two great passions—cycling and graphic design.
Section: Inspiration -
graphic design, emerging designers
Feel Every Note
Let Tim Colmant's jovial illustration turn your frown upside down
Posted by Maisie Skidmore
4 days ago from
It's Nice That
Excerpt: Exhibition: Barbara Kasten at the ICA Philadelphia
Posted by Jill Singer
3 days ago from
Book artists from around the world exhibit outstanding examples of design, printing and binding. A truly unique show. Richmond, CA
Shared in Tools & Resources by
Le Musée grandit (The Museum is growing)
Cascades 2008 Report on Sustainable Development
ToPayForCollege (Tom Sexton)
RT @AIGAdesign: 2015 @Worldstudio #AIGAdesign Scholarship: College tuition support for designers
Apply now: http://t.co/Hg7mZJ7Bdg http://t…
1 hours ago