We are to design a magazine spread and cover for the Eye Magazine. Details were outlined in the brief and below is the research done online:
Biography of Stefan Sagmeister
Sagmeister studied graphic design at the University of Applied Arts Vienna. He later received a Fulbright scholarship to study at the Pratt Institute in New York. He began his design career at the age of 15 at “Alphorn”, an Austrian Youth magazine, which is named after the traditional Alpine musical instrument.
In 1991, he moved to Hong Kong to work with Leo Burnett’s Hong Kong Design Group. In 1993, he returned to New York to work with Tibor Kalman’s M&Co design company. His tenure there was short lived, as Kalman soon decided to retire from the design business to edit Colors magazine for the Benetton Group in Treviso, Italy.
Stefan Sagmeister proceeded to form the New York based Sagmeister Inc. in 1993 and has since designed branding, graphics, and packaging for clients as diverse as the Rolling Stones, HBO, the Guggenheim Museum and Time Warner. Sagmeister Inc. has employed designers including Martin Woodtli, and Hjalti Karlsson and Jan Wilker, who later formed Karlssonwilker.
Stefan Sagmeister is a long-standing artistic collaborator with musicians David Byrne and Lou Reed. He is the author of the design monograph “Made You Look” which was published by Booth-Clibborn editions.
Solo shows on Sagmeister, Inc.’s work have been mounted in Zurich, Vienna, New York, Berlin, Japan, Osaka, Prague, Cologne, and Seoul. He teaches in the graduate department of the School of Visual Arts in New York and has been appointed as the Frank Stanton Chair at the Cooper Union School of Art, New York.
His motto is “Design that needed guts from the creator and still carries the ghost of these guts in the final execution.”
Sagmeister goes on a year-long sabbatical around every seven years, where he does not take work from clients.
He has spent many years designing for the music industry. Several years ago he decided to dedicate 25% of his work to the art world, things like books and publications for galleries, another 25% to the scientific community, 25% to social causes, and the remaining quarter has stayed dedicated to the music industry.
Samples of his work:
Link to his webpage:http://www.sagmeisterwalsh.com/
Link to Eye magazine:
Below is the content for the project:
Inspirational and intriguing designer Stefan Sagmeister is recognized for his unorthodox, provocative designs that tweak the status quo and question the designer’s role in society.
A cunning trickster turns convention upside down, stretches the bounds of propriety, stomps on mores and taboos and alters popular perceptions. Stefan Sagmeister has long fit this “bad boy” bill. Known for upsetting norms, he tricks the senses through design, typography, environmental art, conceptual exhibitions and, lately, video.
Long ago, Sagmeister, whose motto was “Style=Fart,” replaced style with attitude. His designs are rooted in disorienting images and self-defining aphorisms. With apparent ease, Sagmeister morphs—as tricksters are wont to do—taking on various skins, from graphic designer to conceptual typographer to performance artist. When the mood strikes, he returns to being a designer, and a completely new cycle of transformation commences.
For an AIGA lecture in 1999, he famously had the lettering for the event poster carved into his naked body; for his 2003 “Sagmeister on a binge” exhibition poster, he ate 100 different junk foods, gaining more than 25 pounds, and took “before” and “after” photographs of his semi-nude body. For a short typographic film, he dangled precariously out of an upper-story window of the Empire State Building as police scrambled with nets below. The list goes on.
Born in Bregenz, Austria in 1962, Sagmeister began his unorthodox career at age 15 writing for Alphorn, a small, left-wing magazine, but quickly realized that working on the layout was more enjoyable than writing articles. He earned an M.F.A. at the University of Applied Arts in Vienna in 1985, and received a Fulbright scholarship to study at Pratt Institute in New York. Even as a young designer he was peripatetic: he took a position with the Leo Burnett Hong Kong Design Group in 1991. Surprisingly, the job did not trigger his atavistic rebellion, but it did give him a taste for other worlds.
During his student days in New York, Sagmeister had courted another design bad boy, Tibor Kalman, of M&Co. “Tibor Kalman was the single most influential person in my design-y life and my one and only design hero,” Sagmeister told me. “Twenty-five years ago, as a student in NYC, I called him every week for half a year, and I got to know the M&Co receptionist really well. When he finally agreed to see me, it turned out I had a sketch in my portfolio rather similar in concept and execution to an idea M&Co was just working on. He rushed to show me the prototype out of fear I’d later say he stole it out of my portfolio. I was so flattered.”
When M&Co eventually hired Sagmeister five years later, in 1993, Sagmeister discovered that Kalman had an uncanny knack for giving wisdom-laced advice, which had a deep influence on him as he began cultivating his own career. Perhaps most importantly, Kalman encouraged Sagmeister’s own creative restlessness: “Tibor was always happy and ready to jump from one field to another: corporate design, products, city planning, music videos, documentary movies, children’s books and magazine editing were all treated under the mantra, ‘You should do everything twice. The first time you don’t know what you’re doing. The second time you do. The third time it’s boring,’” Sagmeister said.
During the early 2000s Sagmeister was totally invested in this genre and medium. In an interview, I asked him if he wanted to continue with this specialty or enter general practice. He responded in the affirmative without hesitation. I asked if he saw graphic design as a viable practice for future generations: “I personally believe that print is going to be around for a very, very long time,” he replied. “If I’m wrong, future designers will have to be screen-based….I’d rather move to Sri Lanka and build a house than become a website designer.”
In 2008, taking on other types of corporate and media work would have been axiomatic and fruitful, but instead, his next move was an unprecedented act of personal chutzpah: he announced a one-year sabbatical from all commercial work, and retreated to Bali.
Was Sagmeister nuts? Would clients who relied on him remain loyal? Was this a trickster’s trick? True to form, he took the leap not knowing what the consequences might be. In return, he experienced one of those precious “aha” moments. It was during this sabbatical when, after deciding against learning how to direct film out of fear “I might devote a lot of time learning this new language and wind up having nothing to say,” he recalled, “it occurred to me I should try to stick with the language I do know how to talk, design, and see if I’d have something to say in it.”
Ultimately Sagmeister is not a follower, but a leader, if only to satisfy his own restlessness. “If it’s too new I get anxious,” Sagmeister once said, “if it’s too familiar I get bored.”
Author: Steven Heller
Images to include:
Samples of existing magazine spread found online and from books in the library:
This page focuses on the text, using colour, bold fonts and one colour background.
More layout samples fromThe Layout Book by Ambrose/Harris.
Image placement ideas.
An idea for text layout.
Text layout, vertical, to look like buildings, a skyline.
Image as the background and text in white on top of image.
Full portrait on one page and text in different colour on one column.
Play with text, different colours and blocks for background.
Text to follow the curve of an image.
Portrait in the center and text on one side.
Two block colours and text in white. Headings and quotes in different colours
Quote as heading and text on the image.
Quotes and title ideas:
“If it’s too new I get anxious,” Sagmeister once said, “if it’s too familiar I get bored.”
‘You should do everything twice. The first time you don’t know what you’re doing. The second time you do. The third time it’s boring,”
“I personally believe that print is going to be around for a very, very long time”. “If I’m wrong, future designers will have to be screen-based….I’d rather move to Sri Lanka and build a house than become a website designer.”
Based on existing Eye magazines, to use News Gothic fonts.
Sample of Eye Magazine covers:
Cover design using Adobe Illustrator and Photoshop:
Portrait of Sagmeister done Linocut style: