Why is Stefan Sagmeister remembered for his influential design? How did his designs relate to other designs of the period? Include specific designs in your analysis.
Rawsthorn, Alice. "What Stefan Sagmeister Has Learned in His Life so Far." The New York Times 3 Feb. 2008, Sunday ed., Arts sec.: 46. Print.
Alice Rawsthorn discusses Sagmeister’s exhibition and book titled "Things I Have Learned in My Life So Far,”. She briefly observes his biography as a designer and focuses on the important parts that ultimately lead him to begin his unusual working methods. Rawsthorn describes Sagmeister’s designs of the time as being full of “energy, humor, ambition, and ingenuity”. Utilizing the perspectives of other mentionable people, such as Paola Antonelli, who says “It's a sublime mixture of violent and subtle, gross and endearing, direct and pensive”, Rawsthorn provides the reader with a specific audience’s opinion of Sagmeister’s works throughout 2000. She also notices how Sagmeister’s work isn’t to everyones taste, how “graphic purists” prefer the elegance of visual guidelines constructed by organisations such as M/M, Graphic Thought Facility, and Experimental Jetset. (reference) Rawsthorn also comments on Sagmeister’s working techniques in the scope of the exhibition."What I'm drawn to is his uncanny ability to reinvent himself," said a fellow graphic designer, Jessica Helfand. "The only constant in Stefan's work, other than its superior quality, is that there's nothing constant about it."
Heyward, Emily. "Stefan Sagmeister: Life So Far." 99U. Behance, 2008. Web. .
Emily Heyward reviews an interview she had with Sagmeister in ____. Her personal recount and use of quotes gives an insight into Sagmeister’s design philosophy, and how it has helped him succeed through his design studio, Sagmeister Inc. Sagmeister gives Heyward lessons and tips on how to succeed as a graphic designer, reinforcing his opinions by providing evidence of his success. Sagmeister discusses his method of choosing projects, the benefits of being selective and doing background research when approached by a client. Heyward observes how certain art movements had affected Sagmeister’s design strategies, such as “when the modernism revival started and many designers opted for cold, slick design, it seemed a natural reaction for us to go the other way.” Sagmeister also discusses his work methods: “We don’t procrastinate, and generally start working on a project right away. We keep time sheets and flow charts.” This interview provides a chunk of information regarding Sagmeister’s success as a designer, including his theoretical and practical work methods. This allows one to analyse Sagmeister and in an interesting scope
Harper, Laurel, Marvin Scott. Jarrett, and Katherine McCoy. Radical Graphics. San Francisco: Chronicle, 1999. Print.
An old book, that demonstrates Sagmeister’s influence on design trends through the 20th century. Provides plenty of inspirational designs for typography and graphics. Focuses on Sagmeister and 39 other designers from 1970s to 2000s who have defined the cutting edge, and reinvented the looks of the 21st century. Charting the evolution of radicalism in design, from the early influences of the Dadaists to the fractured advertisements and multilayered 3-D work that presage the future, this is a unique profile of the landmark designers who break the rules, fracture the grid, and set new standards for the graphic arts. Radical graphics: where art, design, marketing, and cultural revolution meet. Mostly made up of captions, but still enough information to be relevant.
Heller, Steven. "Stefan Sagmeister: Designer on Sabbatical." Print Magazine, Feb. 2009, p. 34
Steven Heller dicusses an interview he has with Sagmeister regarding his working techniques, specifically his attachement to a year long holiday that he has every 7 years. He argues that this working technique is the secret behind his success as a...
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