Amanda SamsArt 222Typography(208)599-1247

Unit 1

Typeface

Unit 2

Wordmark

Letterhead

Business Cards

Envelope

Unit 3

Historical Event Poster

Unit 4

Calendar

Janu

ary 13th

19thThis Week:

2013-thirteenth

nineteenth

Jan.

Januarythirteenth

thirteenthone-three

nineteenthone-nine

01Monday Tuesday Wednesday

Thursday Friday Saturday

Sunday Notes

13 14 15

16 17 18

19

thirteen

nine

teen

thirt

een

nineteen

Calendar

This Week:

Monday Tuesday Wednesday

Thursday Friday Saturday

Sunday Notes

14 15 16

17 18 19

20

April 14th20th

fourteenth

twentiethApril

042013 fourteenth

fourteenth

twentiethtwentieth

-one-four

Apr two-zero

twentiethtwenty

fourteen

Calendar

-Monday Tuesday Wednesday

Thursday Saturday

Sunday Notes

16 17 18

19 21

22

Friday

20

June 16th

22ndsixteenthone

-six

sixteen

sixteenthsixteenth

sixteenth

twenty-second

twenty-secondtw

o-tw

oThis Week: June

-06Jun

2013twenty-second

Calendar

Monday Tuesday Wednesday

Thursday Saturday

Sunday Notes

10 11 12

13 15

16

Friday

14

November

16th10th

sixteenthone-zero

sixteen

tenth

sixteenthsixteenthtenth

one-sixThis Week: No

vember -11

Nov

2013tenth

tenth

Calendar

Unit 5

ach day our world changes, the old quick-ly vanishing, displaced by inspired new designs, new perspectives and brilliant imaginative creations. Society seemingly demands it, our fascination and appetite

for embracing the new apparently endless. E

Article by Richard AnwylMarch 5, 2008

Feature Story 2322 Feature Story

Opening Spread

ho of us is not awed by the scale of Dubai’s

architecture, amused by the latest television com-mercial, drawn to the val-ue and logic of the Prius Hybrid automobile or the aesthetic and functional design of Apple’s iPhone?

But what of the aban-doned—what respon-sibility do we have for preserving our displaced creations, yesterday’s symbols of inspiration, logic and creative inge-nuity? Champions for the salvation of one such

creation is the Center for Design Study, where I serve as executive direc-tor. This Atlanta nonprofit foundation is battling to preserve a seminal piece of America’s design his-tory that for 20 years was mounted on the cafeteria wall of the CBS building. While some may not be aware of this inspiring three-dimensional me-morial to typography, many are familiar with its creator, Lou Dorfs-man. The CBS cafeteria wall is as legendary as its visionary designer and art director. Conceived in the mid-1960s and ultimately

completed in 1966, the expansive wall, spanning over 35-feet wide and 8-feet tall, is a national design treasure. In pro-ducing the wall Dorfsman enlisted support from life-long friend and design legend Herb Lubalin. Lubalin, along with Tom Carnase, masterfully crafted the typography for the aptly dubbed “Gas-trotypographicalassem-blage.” Dorfsman, now ap-proaching 90, considers the wall his magnum opus, his gift to the world. Unceremoniously dis-

W carded by CBS manage-ment in the early 1990s, the wall’s nine panels were thankfully salvaged by New York designer Nick Fasciano. Time and improper storage had ravaged the monument, however, leaving it in a state of disrepair. The Center for Design Study, having acquired the wall, is engaged in fundraising to support the meticulous and extensive restoration required. The goal is to see Dorfman’s wall re-stored to its full integrity and as part of a perma-nent traveling exhibition on historical American

Feature Story 2422 Feature Story

design, to serve as a tool for education and expanding awareness of the value of intelligently applied design. The wall is a window to the past that should be built up, not torn down.

Too many once-re-vered icons may now only be found in books and journals or in some digitized visual library; the least fortunate are committed only to mem-ory. Countless pieces of art and design are silently destroyed each year, lost forever, receiving only quiet bereavement after

the fact. Many are lost to ignorance, either to their very existence or as

historical symbols of our professions contributions in shaping our culture and

its values. Loudly signal-ing acknowledgment to the inherent value of our

professions artifacts, and the importance of their preservation, AIGA’s

installment of a nation-al design archive at the Denver Art Museum is to be applauded. But is it enough to simply belong to an organization that supports the design field’s creative contributions? I believe the answer to be a resounding no—we must each personally challenge ourselves to take respon-sible action, to celebrate not only the new but to respect our industry’s valued legacy and pre-serve the esteemed work of those who came before us.

D o r f s m a n , n o w approaching 90, considers the wall his magnum opus, his gift to the world.

Opening Spread

Thank You

Amanda SamsArt 222Typography(208)599-1247