Make a Wish Foundation Final

Identity Guide
Make A
Wish
Foundation

1

Table of Contents
Non-Profit Synopsis 4
Mission Statement 5
Taglines 6
Logo Specifications and Usage Guide
14
Corporate and Personal Stationary Packages
21
Advertisement Concept and Design 33
Advertisement Applications 43
Promotional Items 48
Designer Biographies 55
3
Contents

Since 1980, the Make-A-Wish Foundation has enriched the lives of children with
lifethreatening medical conditions through its wish-granting work. The Foundation’s mission
reflects the life-changing impact that a Make-A-Wish experience has on children, families,
referral sources, donors, sponsors and entire communities.

The Make-A-Wish Foundation was founded in 1980 after a little boy named Chris Greicius
realized his heartfelt wish to become a police officer. Since its humble beginnings, the
organization has blossomed into a worldwide phenomenon, reaching more than 161,000
children around the world.

Although it has become one of the world’s most well-known charities, the
Make-A-Wish Foundation has maintained the grassroots fulfillment of its mission.

A network of more than 25,000 volunteers enables the Make-A-Wish Foundation to
serve children with life-threatening medical conditions. Volunteers serve as wish granters,
fundraisers, special events assistants and in numerous other capacities.

As the Foundation continues to mature, its mission will remain steadfast. Wish children of
the past, present and future will have an opportunity to share the power of a wish.

4
Non Profit Synopsis

We grant the wishes of children with life threatening medical
conditions to enrich the human experience with hope,
strength and joy

5
Mission Statement

Making wishes come true Experiencing and Fulfilling Wishes

The Wishes of Children Made Reality The Dreams of Children are filled

Wishes are the Mission Our Mission is Wishes

Fulfillment of Wishes Hope Through Wishes

Dreams are Reality Caring for Wishes of Children

Wishes coming True

Turning Wishes into Experiences

6
Taglines

Wishes Sickness What do you wish on?
Dreams Kids Stars
Family Adults Candles
Love God Shooting Stars
Caring Death Released Balloons
Time Goals Wells
Quality Friends Fountains
Triumph Togeather Coins
Overcoming Working Togeather Bubbles
Faith Fantisy Dandelions (seed)
Hope Fairy Tales Prayers
Miracles Needs Met
Climbing Mountains Happiness
Fullfillment Joy
Magic Fairy God Mother
Wishing Well Fairy’s
Comfort Wands

9
Brainstorming

Make A Wish ake
MA
W ish
Make A Wish
Make A Wish
a ke
M A
s h Make a
Make A Wish W i Wish

ke h
Ma A is ke
M aA Wish
W

11
Logo Roughs

Make A Make A
Wish Wish
Foundation Foundation

Make A
Wish Make A
Foundation Wish
Foundation
Make A Make A
Wish Wish

12
Logo Refined Roughs

Make A
Wish
Foundation

13
Final Color Logo

Logo Specifications
and Usage Guide

14

Make A
Wish
Foundation
Only Use Pantone Process Coated Color

Pantone DS 188-C

Pantone DS 1-2 C1

This logo is completely sizeable for all uses

Color logos are useful for many applications including sinage, brochures, promotional
materials and on manufactured product.

15
Full Color Logo Specifications

Logo may be used with any colors needed for application.

Base Color
DS 188-1C Pantone Process Coated
Make A
Wish
Yellow Star
DS 1-2 C1 Pantone Process Coat-
Foundation
ed

Black and White Application

Base Color
Pantone Process Coated Black
Make A
Wish
White Star
Foundation
Pantone Process Coated White

16
Logo Color Specifications

Base Color
Pantone Process Coated

Make A
DS 91-1C

Wish
Green Star
Foundation
DS 283-1C

Base Color
DS 225-2C Make A
Wish
Orange Star
Foundation
DS 18-2C

The color for the logo may be changed to any Pantone Process color available. No
outline may be added. The star should always be used with a compatable contrasting
color. Logo may be used in black and white, with the star any additional pantone color
required.

17
Variations of Color Applications

Make A
Wish Don’t use the logo without the star. Logo must have the star in a
Foundation Pantone Process Uncoated Color in all color applications.

Don’t skew or rotate the logo. It must remain at 100% straight

Do feel free to use the White outlined version of the logo on a
black background where necessary.

Make A
Wish
Foundation
Do use a black and white version of your choice when color is not
Make A appropriate.
Wish
Foundation

18
Logo Do’s and Don’t’s

Make A
Wish
Foundation
Variations of the black and white logo are available
Make A and very useful for many different applications.
Wish
Foundation

Make A White center with “paper” value should be used
Wish when application to colored paper.
Foundation

The outlined logo can be used on all white or color
applications. This is recommended where a more
sleek sophisticated look is needed.

19
Other Black and White Variations

Adobe Caslon Pro Adobe Caslon Pro Bold

The Type face chosen for the logo is Adobe Caslon Pro used in a regular and
semi-bold strength. The strength of the semi bold puts an emphasis on the
Foundation of the logo and the foundation of the corporation.

Adobe Caslon Pro is an open type pro font, offering extended character and
language support. Although a different appearance to the corporate make a
wish typeface of Adobe Caslon Pro is clean, contemporary and flexible.

20
Identity Typefaces

Corporate and
Personal
Stationary Packages

21

Make A
Wish
Foundation
333 Hope Valley Road
Newport Beach, California 92627
(714) 555-1212

Make A
Wish
Foundation

Make A
Wish
Foundation
(714) 555-1212

Make A
Wish
Foundation
Newpor t Beach, Cal ifornia 92627
p
Newport , California
555-1212
(714) 555-12 12
555 1212

Make A
Wish
Foundation
Newport Beach, C o
wpo t c , California 9 6 7
92627
(714) 555 12 12
555-1212

Make A
Wish
Foundation
(714) 555-1212

James O’Doolan
President

22
Corporate Package

Make A
Wish
Foundation
Shown here is the corporate Make
(714) 555-1212 A Wish Foundation letterhead sheet
design.

Should be used for all outside
company business communications
prepared for company mailing.

Paper size:
8 1/2 x 11

Paper recommendation
Paper type : White, uncoated

Paper name : Sweden BondPaper
weight: 0gsm

Used in conjunction with your Logo Design, Corporate Identity helps to complete
the image of your company. It continues the idea that was created in the logo, and
carries it through to your marketing materials.

Beyond the necessary business cards, letterhead and envelopes, the team uses
your corporate vision to create a range of attention getting products.

And once created, the team has the experience and knowledge necessary to create
trouble-free reproduction files, whether that includes custom die cuts, special inks
and finishes, or just the right paper stock to enhance your image.

23
Corporate Letterhead

Make A
Wish
Foundation Shown opposite is the standard Make A Wish
(714) 555-1212
corporate business card.
Make A
Wish
Foundation Paper size Business card:
Newport Beac h, Cal ifornia 9262 7
Newpor t Beach, Californi a 92627
California
(714) 555 12 12
555-1212

Make A
Wish
2 x 3 1/2 Inches
Foundation
p
(714) 555 12 12
555-1212
Make A
Wish
Foundation
(714) 555-1212
Paper type :
James O’Doolan White, uncoated
President
Paper name : Sweden BondPaper Weight: 22 gsm

24
Corporate Business Card

Shown opposite is the
Make A Wish corporate envelope.

Should be used
Make A for all person to
Wish person business
Foundation
communications
prepared for
company mailing

Envelope size:
3 1/2 x 6 7/8

Paper
recommendation
Paper type : White,
uncoated

Paper name : Sweden BondPaper
weight: 0gsm

25
Corporate Envelope

Make A
Wish
Foundation

Make A
Wish
Foundation
(714) 555-1212

(714) 555-1212

Jame s O’Doolan
J a mes O Do ol a n
James O’ D o o l an
ola
lan
President
Make A
e
(714) 555-1212

Wish
sh
Foundation
ndatio
333 Hope Valley Road J
James O’ D l
O’D
O’Doolan
(714) 555-1212 President
Make A
ke
Wish
ish
Jame s O’Doolan
J a mes O’ D o ol an
James O Do o l a
ola Foundation
undati
(714) 555-1212
President
Make A
Wish
Foundation
a t i on
James O’Doolan
President
Make A 333 Hope Valley Road
ey R o a d
Ro
Wish Newport Beach, C a l i f orn i a 92627
c h , California
o rn
n
Foundation 2
(714) 555-1212

26
Personal Stationary Package

Make A
Wish
Foundation Shown opposite is the
personal Make-A-Wish
letterhead sheet design.

Should be used for all
person to person business
communications prepared for
company mailing.

Paper size:
8 1/2 x 11 in

Paper type : White, uncoated

Paper name : Sweden Bond
Paper weight: 0gsm

(714) 555-1212

27
Personal Letterhead

(714) 555-1212

Shown opposite is the standard
James O’Doolan
oo an
ola Make-A-Wish personal business card.
President
Make A
e
(714) 555-1212

Wishh Paper sizeBusiness card:
Foundation
333 Hope Valley Road J
James O’ D l
O’D
O’Doolan 2 x 3 1/2 Inches
(714) 555-1212 President
Make A
ke
Wish
ish
Foundation
undati Paper recommendation
Jame s O’Doolan
J a mes O Do o l a
James O’ D o ol an
ola
Newport Beach, California 92627 President
(714) 555-1212

Make A Paper type : White, uncoated
Wish
Foundation
ation
James O’Doolan
President Paper name : Sweden BondPaper Weight:
Make A 22 gsm
Wish
Foundation

28
Personal Business Card

Shown opposite is the
Make A Wish personal
envelope.

Should be used
for all person to
Make A
Wish person business
Foundation
communications
(714) 555-1212 prepared for more
personal and sensitive
mailing.

Envelope size:
3 1/2 x 3 7/8

Paper
recommendation
Paper type : White,
uncoated

Paper name : Sweden
BondPaper weight: 0gsm

29
Personal Envelope

Use of Stationary

Correct use of stationery provides consistency and integrity, supporting our brand
mission, its purpose and values. The way we conduct our everyday business provides
an important opportunity to reflect all that we are.

For users of all Microsoft Office applications, electronic templates are available to
download from www.MAWStationary.com and should be used with all pre-printed
stationery items.

A complete set of Microsoft Powerpoint templates are also available for download
from maw.com and should be used at all times.

For ease of use and consistency, electronic templates provide pre-determined
typographic sizes, leading and positioning. No other versions should be used.

30
Stationary Usage

Recommended Paper Stocks

Capitol Bond Paper - 24 lb. Writing Paper Bright White 25% Cotton Light Cockle
Finish 8.5 x 11

Long held as the benchmark in affordable, dependable 25% cotton communication
papers, Capitol Bond truly is the standard for business and personal
correspondence. Acid Free, Elemental Chlorine Free

Howard Linen Paper - Bright White Linen 24 lb. Writing Paper 8 1/2 x 11 Ream
Howard Linen is the emblem of performance and economical style. With just a hint
of texture, its attractive linen finish can be used for a wide range of applications.
Acid Free, Elemental Chlorine Free, Produced with 30% Post-Consumer Fibers

31
Recommended Paper Stocks

Advertisement
Concept and Design

33

Wishing wanting patience
Miracles caring virtue
sympathy hospitals childlike
emotion nurses innocent
longing doctors young
dreaming paitents old
reaching waiting all ages
happy parents devistation
deserving loved ones desperation
feeling grandparents limited
people freinds fulfillment
children happiness wonder
family sickness amazement
hopes terminal
last chance
time

35
Ad Brainstorming

Sick Children make wishes everyday
Sick Children make wishes everyday Sick Children make wishes everyday Help us make them come true
Help us make them come true


Make A
Wish
Foundation Make A
Wish
Foundation
Make A
Wish
Foundation

Ad Roughs 37
Concept 1

Sick Chidren make wishes everyday Sick Chidren make wishes everyday Do wishes really come true?

Wishes are the mission

Help us make them come true Help us make them come true
Donate Today Donate Today
Make A
Make A Make A Wish
Wish Wish Foundation

Ad Roughs 38
Concept 2


Make A Make A Make A
Wish Wish Wish
Foundation Foundation Foundation

Ad Roughs 39
Concept 3

Ad Finals Concept 1
Sick children make wishes everyday


Make A Make A
Wish
Foundation Wish
Foundation


Make A
Wish
Foundation 40
Ad Finals

Ad Finals Concept 2

Sick chidren make wishes everyday
Do wishes really come true?

Wishes are the mission

donate today
Make A Make A
Wish Wish

Sick chidren make wishes everyday

donate today
Make A 41
Wish
Foundation

Ad Finals Concept 3


Make A Make A
Wish Wish



Make A
Wish 42
Foundation

Advertisement
Applications

43

44
Advertisement Application 1

45

46

Promotional Items

48

Concept 1

50
T-Shirt Finals - Concept 1

Concept 2

Make A Make A Make A
Wish Wish Wish
Foundation Foundation Foundation
Help me make Help me make Help me make
a Wish Come a Wish Come a Wish Come
True True True

51

Concept 3

Wishes
Make A

Wishes Wishes
Wish Make A Make A
Foundation Wish
Foundation
Wish
Foundation

are are are
Reality Reality Reality

52

Promotional Handbags

Foundation
Make A
Wish

Logos and Other variations of promotional
products can be labeled with the standard logo
Make A
Wish
or different derivatives.
Foundation

Make A
Wish
Foundation

Promotional Aprons
Colors may be adjusted as needed to make
colorful or unusual promotional items. Make A
Wish
Foundation

Make A Make A
Wish Wish

53
Promotional Items

Designer Biographies

55

Chip Kidd is a graphic designer and writer living in New York City and Stonington, Connecticut.
His first novel, The Cheese Monkeys, was a national bestseller and a New York Times Notable Book of the
Year. His first book, Batman Collected, was awarded the Design Distinction award from ID magazine. He
is the co-author and designer of the two-time Eisner award-winning Batman Animated. He is the editor-at-
large for Pantheon, where he has overseen the publication of Chris Ware’s Jimmy Corrigan: The Smartest
Kid on Earth, Dan Clowes’s David Boring, and the definitive book of the art of Charles Schulz, Peanuts
(designed, edited, and with commentary by Mr. Kidd). He has also written about graphic design and popular
culture for McSweeney’s, Vogue, The New York Times, The New York Observer, Entertainment Weekly,
Details, 2WICE, The New York Post, ID, and Print.

His designs have been described as “Monstrously ugly” (John Updike), “apparently obvious” (William Boyd),
“Faithful flat-earth rendering” (Don DeLillo), “surprisingly elegant” (A. S. Mehta), “a distinguished parochial
comic balding Episcopal priest” (Allan Gurganus), “Two colors plus a sash” (Martin Amis) and “not a piece
of hype. My book was lucky.” (Robert Hughes).

Mr. Kidd is also the lead vocalist, percussionist, lyricist, and co-songwriter in artbreak, a new band described
as “The New Pornographers meet The Cars” (Unbeige).

He does not, apparently, sleep.

56
Chip Kidd

David Carson’s retrospective of his past five years, Trek features photography, film, and Web
based projects that shift between personal and commercial. Uniting the content is Carson’s distinctively
fragmented and layered compositional approach: One example, a photograph of a sun-bleached shack and
a notice board that reads “Carson Design inc,” is adorned with graphic sunbursts, leaving the reader to
wonder how much of the image is real and how much constructed. The jurors commended the fluid, free-
associative feel. “David Carson continues to be one of the world’s most distinctive typographic voices much
imitated, but never matched,” Lupton said. She added that the book, which is published by Gingko Press,
“effectively presents Carson’ own work in his own style. That could be too much of a good thing, but in
this case, it’s just right.”

57
David Carson

Paul Rand (born Peretz Rosenbaum, August 15, 1914 – November 26, 1996) was an
American graphic designer, best known for his corporate logo designs. Rand was educated
at the Pratt Institute (1929–1932), and the Art Students League (1933–1934). He was one of
the originators of the Swiss Style of graphic design. From 1956 to 1969, and beginning again in
1974, Rand taught design at Yale University in New Haven, Connecticut. Rand was inducted
into the New York Art Directors Club Hall of Fame in 1972. He designed many posters and
corporate identities, including the logos for IBM, UPS and ABC. Rand died of cancer in 1996.
He is buried in Beth El Cemetery in Norwalk, Connecticut.

58
Paul Rand

1920 Saul Bass is born in the Bronx district of New York
1936 Wins a scholarship to study at the Art Students’ League in Manhattan
1946 Moves to Los Angeles to work as an art director at the advertising agency,
Buchanan and Company
1952 Opens his own studio, named Saul Bass & Associates in 1955
1954 Designs his first title sequence for Otto Preminger’s Carmen Jones
1957 Devises titles for Michael Anderson’s Around The World in 80 Days and
Preminger’s Bonjour Tristesse
1966 Directs the racing sequences and devises the titles for John Frankenheimer’s
Grand Prix
1973 Designs the corporate identity of United Airlines
1980 Designs the poster for Stanley Kubrick’s The Shining and devises the corporate
identity of the Minolta camera company
1984 Creates a poster for the Los Angeles Olympic Games
1987 James L. Brooks persuades Bass to return to title design by creating the
opening sequence of Broadcast News
1990 Begins a long collaboration with Martin Scorsese by creating the titles for
GoodFellas
1991 Devises the titles for Scorsese’s Cape Fear and a poster for the 63rd
Academy Awards. Bass designs the Academy Awards poster for the next five
years.
1993 Creates the title sequence for Scorsese’s The Age of Innocence and a
poster for Steven Spielberg’s Schindler’s List
1996 Saul Bass dies in Los Angeles of non-Hodgkins lymphoma

59
Saul Bass

Neville Brody, the British designer and art director, has now been at
the forefront of graphic design for over two decades.

Initially working in record cover design, Brody made his name largely through his
revolutionary work as Art Director for the Face magazine. Other international
magazine directions have included City Limits, Lei, Per Lui, Actuel
and Arena, together with London’s The Observer newspaper and
magazine.

Brody has consistently pushed the boundaries of visual communication
in all media through his experimental and challenging work,
and continues to extend the visual languages we use through his
exploratory creative expression.In 1988 Brody published the first of his two monographs
, which became the world’s best selling graphic design book. Combined sales now exceed
120,000. An accompanying exhibition of his work at the Victoria and Albert Museum
attracted over 40,000 visitors before touring Europe and Japan.

In 1994, together with business partner Fwa Richards, Brody launched
Research Studios, London. Since then studios have been opened in Paris, Berlin with
plans to open a New york studio. Clients range across all media, from web to print,
and from environmental and retail design to moving graphics and film titles.

A sister company, Research Publishing, produces and publishes experimental multi-
media works by young artists. The primary focus is on FUSE, the renowned conference
and quarterly forum for experimental typography and communications. The publication i s
approaching its 20th issue over a publishing period of over ten years. Three FUSE
conferences have so far been held, in London, San Fransisco and Berlin. The conferences
bring together speakers from design, architecture, sound, film and interactive design
and web.

60
Neville Brody

Peter Max is a
multi-dimensional creative artist. He has
worked with oils, acrylics, water colors,
finger paints, dyes, pastels, charcoal, pen,
multi-colored pencils, etchings, engravings,
animation cells, lithographs, serigraphs, silk screens, ceramics, sculpture, collage,
video and computer graphics. He loves all media, including mass media as a
“canvas” for his creative expression.

As in his prolific creative output, Max is as passionate in his creative input. He
loves to hear amazing facts about the universe and is as fascinated with numbers
and mathematics as he is with visual phenomena.

61
Neville Brody

Armando Testa, the father of Italian advertising.
When asked to describe the work of the Turin-born advertising guru
Armando Testa in three words “less is more” immediately come to
mind.

Minimalism effected much of 20th century art and Testa was a
minimalist by nature. He based his advertising art - and indeed art it
is - on the principles of impact and simplicity. Testa was influenced by
abstract art and is perhaps the first modern Italian adman. In his ads
the decontextualised product reigns supreme. Consider, for example,
Pirelli’s baby elephant which had a tyre instead of a trunk.

Television first made its way into Italian homes in the 1960s. Testa
turned his attention to the new medium and embraced it in full, building
new uncharted worlds around his geometric creations. Among his most
famous characters are the Caballero Misterioso, Carmencita, Paulista
and all the inhabitants of planet Papalla who enthralled the public night
after night in the television phenomenon “Carosello”. (Carosello was
an innovative mix of comic sketches and advertising in which cartoon
characters were associated with different
products.)

Armando Testa died in 1992, leaving behind
his works (now showcased up until May 13th
in a major exhibition in Turin’s Castello di
Rivoli) and an advertising agency which
still handles campaigns for clients the like
of supermarket chain Esselunga and the
electoral candidate Francesco Rutelli with
his smiling promises of a better Italy.
62

Adolphe Mouron Cassandre (January
24, 1901 – June 17, 1968) was an influential Ukrainian-French
painter, commercial poster artist, and typeface designer.

Born Adolphe Jean-Marie Mouron in Kharkov, Ukraine, to French
parents, as a young man, Cassandre moved to Paris, where
he studied at the École des Beaux-Arts and at the Académie
Julian. The popularity of posters as advertising afforded him
an opportunity to work for a Parisian printing house. Inspired
by cubism as well as surrealism, he earned a reputation with
works such as Bûcheron (Woodcutter), a poster created for
a cabinetmaker that won first prize at the 1925 Exposition
Internationale des Arts Décoratifs.

Cassandre became successful enough that with the help of
partners he was able to set up his own advertising agency called
Alliance Graphique. Serving a wide variety of clientele, during the 1930s, his creations for the
Dubonnet wine company were among the first posters designed in a manner that allowed them
to be seen by occupants in fast-moving vehicles. His posters are memorable for their innovative
graphic solutions and their frequent denotations to such painters as Max Ernst and Pablo Picasso.
In addition, he taught graphic design at the École des Arts Décoratifs and then at the École d’Art
Graphique.

With typography an important part of poster design, the company
created several new typeface styles. Cassandre developed Bifur in 1929,
the sans serif Acier Noir in 1935, and in 1937 an all-purpose font called
Peignot. In 1936, his works were exhibited at the Museum of Modern
Art in New York City which led to commissions from Harper’s Bazaar
to do cover designs.

In his later years, Adolphe Mouron Cassandre suffered from bouts of
depression prior to his suicide in Paris in 1968.
63

Herbert F. (Herb) Lubalin (b. 1918,
d. 1981) was a prominent American graphic designer. He
collaborated with Ralph Ginzburg on three of Ginzburg’s
magazines: Eros, Fact, and Avant Garde, mother & child
and was responsible for the creative visual beauty of these
publications. He designed a typeface, ITC Avant Garde, for
the last of these; this distinctive font could be described as a
post-modern interpretation of art deco, and its influence can
be seen in logos created in the 1990s and 2000s.

64
Herbert F. (Herb) Lubalin

James McMullan (born 1934) is an illustrator and designer of theatrical posters. He is also
the author of the book High Focus Drawing and creator of the “High Focus” method of figure drawing.

65
James McMullen

Milton Glaser (born June 26, 1929) is a graphic designer,
best known for the I Love New York logo,[1] his “Bob Dylan” poster,
and the “DC bullet” logo used by DC Comics from 1977 to 2005. He
also founded New York Magazine with Clay Felker in 1968.

Glaser was educated at New York City’s High School of Music and
Art (now Fiorello H. LaGuardia High School of Music & Art and
Performing Arts), graduated from the Cooper Union in 1951 and later,
via a Fulbright Scholarship, the Academy of Fine Arts in Bologna under
Giorgio Morandi.

In 1954 Glaser was a founder, and president, of Push Pin Studios
formed with several of his Cooper Union classmates. Glaser’s work
is characterized by directness, simplicity and originality. He uses any
medium or style to solve the problem at hand. His style ranges wildly
from primitive to avant garde in his countless book jackets, album covers,
advertisements and direct mail pieces and magazine illustrations. He started his own studio, Milton Glaser, Inc, in
1974. This led to his involvement with an increasingly wide diversity of projects, ranging from the design of New
York Magazine, of which he was a co-founder, to a 600 foot mural for the Federal Office
Building in Indianapolis.

Throughout his career he has had a major impact on contemporary illustration and
design and played an influencing role for Howard Milton. His work has won numerous
awards from Art Directors Clubs, the American Institute of Graphic Arts, the Society of
Illustrators and the Type Directors Club. In 1979 he was made Honorary Fellow of the
Royal Society of Arts and his work is included in the Museum of Modern Art, the Victoria
and Albert Museum, the Israel Museum and the Musee de l’affiche in Paris. Glaser has
taught at both the School of Visual Arts and at Cooper Union in New York City. He is a
member of Alliance Graphique International (AGI).
66
Milton Glaser

German type and book designer Jan Tschichold
(1902 1974) revolutionized modern typography through his
bold, asymmetrical designs and use of sanserif typography,
both inspired by the work of the Bauhaus. He proclaimed
his new design philosophy through a series of articles and
books, including Die neue Typographie, published in Berlin
in 1928. His international renown came largely as a result of
his redesign of Penguin’s entire series of paperback novels
just after World War II. Any graphic designer practicing
today owes a debt to Tschichold’s innovation. Jan Tschichold: A Life in Typography offers a concise
biography of Tschichold, accompanied by numerous examples of his vast body of work. It serves
as an introduction to Tschichold for those who are unfamiliar with his influential style, yet for the
experienced designer it is an excellent collection of the wide range of his designs. Ruari McLean’s
books on graphic design include Modern Book Design (1958) and Typographers on Type (1995).
He is also the translator of Tschichold’s The New Typography and the author of various books on
Tschichold’s work
67
Jan Tschichold

Make a Wish Foundation Final

Empfohlen

Empfohlen

Weitere ähnliche Inhalte

Mehr von RobinPickles

Mehr von RobinPickles (9)

Make a Wish Foundation Final