FETCHING THE PAPERS
When John McConnell joined Pentagram as its sixth partner in 1972, the fledgling firm was still feeling out how it wanted to present itself to the world. “There were endless debates about what was so important about Pentagram, what was its raison d’être, and what we should do to help us stand out in the design community in general,” says McConnell. “We always knew that one of the characteristics about us was the business of education—to be the teacher.” So, with a black-and-white primer of graphic clichés, McConnell began a tradition where partners could share the issues, curiosities, collections and obsessions that piqued their interest through short (20- to 50-page) publications called Pentagram Papers. Thirty-five years later, the 35 identically sized Papers are examined and excerpted in the book The Pentagram Papers (Chronicle), designed by San Francisco partner Kit Hinrichs and edited by Delphine Hirasuna. Some of the most popular Papers call attention to everyday miracles, like the simple beauty of crop circles and vernacular innovation in Australian mailboxes, but they’ve also tackled their share of serious subjects, like the firsthand accounts of an underground press in Nazi-occupied Paris.

While Pentagram should have no insecurity about its current role in the design world, the firm has taken a second foothold as a cultural thought-leader, something that’s made the Papers somewhat of a phenomenon. Since they’re produced in extremely short runs (at the most, 4000 each) and given only as gifts to friends of the firm (never for sale), they’re extremely collectible. Milton Glaser is said to own a complete set, a dealer in New York specializes in finding them, and there are even some celebrity fans. “Two of my partners visited the apartment of a famous man named Sir Norman Foster and I was told that on his office desk there’s a very neat stack of Pentagram Papers,” says McConnell. “They are dusted every day,” he quips.

In fact, exclusivity is one very good reason to consider buying The Pentagram Papers: It contains issue #36, a study of African pictographs designed by McConnell. So unless you’re on Pentagram’s A-list, extremely gifted at eBay or a close personal friend of Sir Foster, this is the only way to own one of design’s most famous little black books.
www.chroniclebooks.com

EXTRA CREDIT
As juniors at North Carolina State University, Caroline Okun and Carolin Harris realized that no matter how wonderful the work they produced in their graphic design program, it had a very slim chance of reaching a wider audience. So they spent the summer writing a mission statement and business plan for a student-run publication, sixdegrees. The first issue came out in February of their senior year, with the second, appropriately themed “Transition,” appearing for their graduation and a third expected in early 2007. Featuring student work that’s “spontaneous, fresh, creative, unrestrained,” it’s not all just pretty pictures: NC State’s legend-in-residence Meredith Davis wrote an essay for the premiere issue. It seems they’re getting the attention they deserve: sixdegrees was recently featured in the magazine Flaunt as one of the best international student publications.
www.sixdegreeszine.com

TEACH YOUR CHILDREN WELL
Forget the exclusive preschool. A new slew of design-focused toys will ensure that your young one is at the head of the aesthetically aware class. Designer and dad Greg Chinn has been making waves with his M Is For Modern flashcards, which transform mid-century design terminology into child’s play. Quiz your kid with these handsome illustrations that cover the basics from op art to pop art and googie to tiki.

Over at House Industries, the Alexander Girard Alphablocks set teaches ABCs with art and type by the whimsical Herman Miller textile designer. The fun curlicue letters are inspired by a new Girard typeface to be released this spring. And even though they’re targeted to 3-year-olds, these toys are sophisticated enough to leave out on the coffee table.
www.jargonboy.com, www.houseind.com

UP AGAINST THE WALL
When Stefan G. Bucher isn’t penning his Ink & Circumstance column for STEP, he’s often on the road, speaking at schools and design organizations around the country. During a recent trip sponsored by AIGA Arizona, he was given one lecture slot in Phoenix, one in Tucson, and … a blank wall. With the help of volunteers and local nonprofit ArtFare, Bucher transformed a downtown Tucson storefront into a mural that has given plenty of people something to say: The building was featured on the local news and will soon be opened as a café. Bucher considers this a huge improvement on the standard speaking engagement. “I usually come into town, give my talk and am back on a plane the next morning,” he says. “AIGA Arizona gave me a great opportunity to forge a more lasting connection with their members—especially with the brave volunteers who spent 20 hours painting with me on a gently swaying cherry picker.”
www.344design.typepad.com

RUN FOR THE BORDER
The cultural transition zone of Tijuana is also caught between two art worlds. The brimming creative community is extremely sensitive to nearby American influences, yet too far physically removed to be considered part of the traditional Mexican scene. The result is a vibrant hybrid of work, explored by the Santa Monica Museum of Art in the exhibition “Strange New World: Art and Design From Tijuana.” The show features some of the usual suspects—architects Teddy Cruz and Linda Chavez, artist Rene Peralta —but the most exciting work comes from emerging artists who are busy studying the complexities of class, identity and growth. The show never loses its sense of place, either: The 41 artists, architects and designers are divided into four groups, symbolizing Tijuana’s neighborhoods —Downtown, Nightlife, Cartiolandia (cardboard land) and Border. Curator Elsa Longhauser handpicked many of the artists during trips to Tijuana; the website even features a map of their studios. January 12 through April 7, 2007.
www.mcasd.org/strangenewworld

DESIGNING A BLOCKBUSTER
While working at Imaginary Forces, Kurt Mattila and Matt Checkowski felt a few nibbles from the film bug: They designed plenty of movie titles and even got to work with Steven Spielberg on effects for Minority Report. But when they left IF to strike out on their own, the Boston natives skipped the production assistant steps and leapt directly to the top—directing a feature film. Soon to be in wide release, Lies & Alibis features a star-studded ensemble cast (Rebecca Romijn, Selma Blair, Henry Rollins) and clever winks to its . lm noir predecessors (the motel where most of the action takes place is named The Ellroy). But there’s also a general design flair throughout it—typography, something so often neglected in cinema, has never looked this good on film. The titles, of course, are excellent.
www.kurtandmatt.com