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March/April 2008 V24N2
The Kansas City-based firm Bungalow Creative produces work you won't find on the coasts. It is work rooted in both a philosophy and a place.
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January/February 2008 V24N1
If a commercial makes you stop and think, "That's pretty great," it probably is a Brand New School creation.
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January/February 2008 V24N1
Design criticism in the Sunday paper? Regularly? A new Master's program aims to show that design crit is relevant & ready for the big media spotlight.
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November/December 2007 V23N6
Kalle Lasn creates another publication soapbox with his book Design Anarchy, again calling on designers to change the world by changing themselves & the way they work.
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November/December 2007 V23N6
Modern Dog has earned its place in the annals of American design. And in the hearts of anal Americans who can only wish to be this hip over 40.
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November/December 2007 V23N6
In-house designers at two of the nation's leading public institutions work on a
massive scale—with attendant risks & rewards.
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September/October 2007 V23N5
Michael Carabetta’s influence at Chronicle Books goes beyond book design to
embrace brand maintenance, trade shows ... even the creation of new quarters.
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September/October 2007 V23N5
After 10 strong years, where can character design go next? Pictoplasma,
the world’s first character art archive, maps the discipline’s future.
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July/August 2007 V23N4
Carin Goldberg retraces the path that’s led to a wide-ranging, ever-changing,
always-surprising body of work.
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July/August 2007 V23N4
In today's publishing world, individuality is as quaint a term as dust jacket. Not so for art director John Gall, who brings an original and idiosyncratic design sense to his work for the Knopf Group.
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May/June 2007 V23N3
Success and satisfaction, commitment and commercialization:
Dutch designer Melle Hammer’s career embodies the balancing
act that brings art and business to a successful communion.
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March/April 2007 V23N2
Exploring “the structures beneath the spectacle” enables Martin Venezky’s Appetite Engineers to create work that is consistently provocative, entertaining and effective.
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May/June 2007 V23N3
Mohawk’s paper promotions live at the intersection of the business and creative worlds. Laura Shore knows what it takes to successfully “ design for designers.”
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January/February 2007 V23N1
This year's theme focuses on designers who, in addition to doing what we understand as graphic design, have also either started a business venture or developed an experimental alternative practice.
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January/February 2007 V23N1
VSA Partners’ Jamie Koval reveals how Chicago’s creative powerhouse combines audience intelligence with “instinct for the right aesthetic.”
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January/February 2007 V23N1
128 years in the making, Hatch Show Print evolves relentlessly.
Leading light Jim Sherraden explains here why the computer
is the best thing that’s happened to Hatch … so far.
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January/February 2007 V23N1
Communicating with the fastest-growing segment of the American populace demands increasingly sophisticated and innovative approaches geared specifically for Hispanics.
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Nov/Dec 2006 V22N6
Tune into four creative projects built on the power of documenting something everyday.
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Nov/Dec 2006 V22N6
Believe it or not: Few people know of Marks’ remarkable secret talent—he can say
“Hello Kitty” in 25 different languages. “OK, maybe five. And it’s simply ‘hello.’”
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Nov/Dec 2006 V22N6
Balancing commitments to socially responsible clients while augmenting her reputation for aesthetically relevant design has become a labor of love for Cheryl Heller.
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Nov/Dec 2006 V22N6
From the terrible time of Slobodan Milošević’s regime came a project that continues through today to illustrate that art and design can help heal a war-torn community and become an international cultural event.
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Sept/Oct 2006 V22N5
Although Vitals folded, its design under Paul Ritter may have influenced a few start-ups.
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Sept/Oct 2006 V22N5
Not one to shy away from the big issues, Kali Nikitas reflects on love, life, and
spirituality in her quest to fuse the passions of life and work.
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Sept/Oct 2006 V22N5
Carlos Segura tells us about his career, his dog, and his reputation for being difficult.
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July/August 2006 V22N4
Jennifer Morla runs her own successful design studio and serves as in-house creative director at Design Within Reach. Her boundless energy and enthusiasm for her craft motivate and inspire her. Read on.
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July/August 2006 V22N4
Information design strategist Sylvia Harris takes on the low-paying, time-consuming work of designing for the public realm.
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July/August 2006 V22N4
Achieving star status doesn’t happen by chance. Marty Neumeier shares his views on design legends, past and present, and why stardom may not be what it used to be.
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May/June 2006 V22N3
Learn how a young man with “authority issues” become a world-class typeface designer and found happiness in one of America’s most scenic spots.
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May/June 2006 V22N3
Tibor Kalman’s former employees discuss his unrelenting style and what it means to be “just exactly not quite right.”
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May/June 2006 V22N3
Four design teams turn their thinking inside out with a C2 creative experiment.
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May/June 2006 V22N3
Bill Strickland took a simply brilliant idea—
give underserved people the best of design
and fine arts and they will thrive—
and built a state-of-the-art educational
facility in Pittsburgh that’s inspiring
replication efforts nationwide.
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May/June 2006 V22N3
James Victore dispels the myth that he’s an angry designer because of his unwillingness to
compromise his beliefs—and he doesn’t utter the “F” word once.
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May/June 2006 V22N3
You'll never find the unexpected unless you look for it. Designing the cover of this issue of step is a case study.
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May/June 2006 V22N3
In early fall 2005, hurricanes in the Gulf Coast of the U.S. roared in leaving a trail of destruction, still unrepaired, that also brought in their wake a verification that yes, indeed, there actually is a design community.
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March/April 2006 V22N2
Legendary type designer Doyald Young speaks passionately about lettering, teaching, and the circuitous, unlikely path he took to become a type designer.
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January/February 2006 V22N1
What brings a man born and raised in the hot, hard, chaotic, and lawless streets of Tijuana to a city such as Minneapolis, so opposite in character? What makes him stay? What persuades him to leave once he’s well established and comfortable?
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January/February 2006 V22N1
2005 AIGA Medalist Bart Crosby reflects on his design career in Chicago that spans more than four decades, and his interests outside of graphic design.
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January/February 2006 V22N1
A wonderful pool of talented young illustrators brings an entrepreneurial spirit and fresh approach to the field. Here are 10 talented artists—all cultural chroniclers and cool chicks—to check out.
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January/February 2006 V22N1
In order to compile this year’s Field Guide Alice Twemlow contacted a selection of graphic design programs both in the U.S. and further afield in Europe in search of designers emerging from, and yet still connected to, their respective schools.
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January/February 2006 V22N1
Rod McDonald’s work as a graphic designer, lettering artist, educator, historian, and prolific writer has encompassed virtually every aspect of the typographic arts. Despite his success as a lettering artist, however, it was 20 years before McDonald tackled his first typeface design.
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Nov/Dec 2005 V21N6
When no one else was looking, these women began to re-examine the role of education in design. Now it’s impossible to ignore what they’ve accomplished.
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Nov/Dec 2005 V21N6
One of the first female art directors of a national magazine, Ruth Ansel, reflects on her career, her hopes and dreams, and the state of the art.
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Nov/Dec 2005 V21N6
While today we see an unprecedented number of female designers, it is often difficult to trace the lives and work of the graphic artists, illustrators, engravers, binders, and typographers of the early- to mid-20th century. This timeline provides a glimpse at some milestone accomplishments.
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Nov/Dec 2005 V21N6
Escaping from the sugary mother-daughter relationship model
into a more complex and more fun collaboration.
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Nov/Dec 2005 V21N6
You’ve not only heard their names and seen their work (many on the pages
of STEP), but you’ve probably seen them speak at conferences and you
may have even met them in person.
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Nov/Dec 2005 V21N6
Phalluses, Falsies, and Other Fallacies: Debunking the Gender Gap Myth in American Illustration
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Sept/Oct 2005 V21N5
Hillman Curtis documents designers he admires in his DESIGNER SERIES short film essays.
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Sept/Oct 2005 V21N5
Frustrated by the assignment and mad that he was spending
his day of at the office, Greg Smith, creative director
at Building Online in Dana Point, Calif., blew off some steam by creating a parody
of the promises many creative agencies make on their sites.
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Sept/Oct 2005 V21N5
The principals of Volume take things into their own hands by pointing out their mistakes in this interview, and in the process reveal their quirkier sides.
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Sept/Oct 2005 V21N5
In the close quarters of the apartment Clay Weiner shares with his girlfriend,
fashion designer Rachel Comey, on the eastern edge of Little Italy,
an acquaintance is made.
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Sept/Oct 2005 V21N5
There’s nothing like a little pressure—a STEP cover design for an issue to be distributed at the AIGA National Conference in Boston this September—to fuel some passionate…well…anxiety and designer’s block.
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July/August 2005 V21N4
Paul Sahre’s (pronounced “say-er”) story should be widely known by now. But he remains an enigma—or at least hard to characterize.
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July/August 2005 V21N4
Goodesign’s founders, Kathryn Hammill and Diane Shaw, are currently working on a a annual report for Endeavor, a nonprofit organization that promotes entrepreneurship in developing countries. They suggested a break from the usual corporate imagery. Did the CEO bite, or was it too risky?
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May/June 2005 V21N3
Kristin L. Wolfe interviews Ed Benguiat, the architect of type.
His typefaces are his children. In print they’re his music.
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March/April 2005 V21N2
The judges were extremely pleased with the show they had picked, and what they viewed as a positive trend in their field.
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January/February 2005 V21N1
The principals of two young design firms get real about business, friendships, and competing for jobs in the same town.
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January/February 2005 V21N1
For Sydney Symphony, Moon created a refreshed brand identity that was consistent with the business' repositioning of the brand to attract a younger demographic while maintaining its appeal to its existing market. The 2004 season brochure is the major component of the project carrying the new identity and the new design direction for the season. Other applications include stationery, ticketing collateral, and promotional and marketing materials.
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