INTERVIEW WITH STEVEN HELLER

Eleven questions
Knowing the lively intellect and
openness to discussion of Steven Heller - art director of the New York
Times Book Review and influential writer and critic - Sugo asked eleven
graphic designers from eleven different countries to ask him a question
of their choice. What is most striking is the energy and freshness both
of the questions and of the answers, which have the power - like
everything that springs from brilliant and intelligent minds - of
clearing up some doubts while giving rise to others.
1. abake, London/Paris, www.sexymachinery.com
What's wrong with graphic design education?
I
hate to start so abruptly with a negative. So, if you don't mind, I'll
begin by saying what's right with graphic design education.
There
are a lot of dedicated teachers with startling ideas about how to
inspire students. Notice I said "inspire" rather than teach because
learning must occur in an inspired environment. For a book I recently
edited titled 'Teaching Graphic Design' (Allworth Press), I compiled
over forty syllabi from different levels of course-work taught by
various teachers throughout the United States and I was extremely
impressed to find some exciting new ways of teaching, and therefore
inspiring, everything from basic typography to linguistic theory.
But
the question was what's "wrong" with education? First of all, the field
has become excessively production-oriented. Designers have been
transformed from problem-solvers into typesetters, page-makers, and
color separators, which means that the computer becomes an
all-important be-all and end-all tool. Too many undergraduate design
programs rely too heavily on computer instruction, which considerably
reduces the time devoted to intelligent (not rote) thinking. Design is
as much about making conceptual and aesthetic decisions as it is being
fast with the most up-to-date software, but there is a considerable
division between these in today's pedagogy. Secondly, four years is not
enough time to address all the needs of students today. It may be
enough time to produce a marketable portfolio but not enough to master
both the technology and theory of visual communications. It is
certainly not enough time to teach practice and theory. Thirdly,
graphic design school is little more than a trade school if there are
no liberal arts classes, and in the current environment (at least in
the U.S.) liberal arts is virtually ignored. I can't tell you how many
design students don't read a newspaper.
Education in
any field must start broad and then focus on specialties, but graphic
design education starts narrow and gets even more so. If I were to
instantly change the entire structure I would add at least another year
of liberal arts (and especially history). Then I would intersect design
studio classes with liberal arts so that the graphic design student
knows the role of his or her design in the larger culture.
2. Reala, London/Stockolm, www.reala.se
Do you believe the best graphic design is yet to come?
I'm
not sure how to answer this insofar as it requires prescience that I do
not possess. It is easy to look backwards to find classic work. And
there is a lot of great graphic design today produced by very talented
designers (albeit context is very important). But is the best graphic
design yet to come? Beats me. I presume, as technology, media, world
events, and other concerns of import change there were be new and
different ways of addressing typography, image making, etc. Add to that
those unborn geniuses who will rise to the occasion and I presume we
have a lot to look forward to.
3. Matteo Vianello, Venice
What do you think about interviewing as literary format?
The
interview when done really well is an art. Is it a literary art? A
journalistic art? Something else? I find reading a well crafted and
finely tuned interview is as enjoyable if not more than reading an
article peppered with quotes. I've done hundreds of interviews and some
worked out brilliantly. But I often think that has less to do with me
than the subject. If the interviewee is articulate and open, the
interview will be a gem. Of course, if I'm the one being interviewed,
then I pray the interviewer is a genius.
4A. Tyler Whisnand, Amsterdam, www.kesselskramer.com
Do you think news art direction is different than othercommunication art direction?
News
art direction, once called news make-up, is different from magazine or
any other art direction insofar as the newspaper medium is different
from magazines, books, etc. But more importantly, a news art director
must work collaboratively with editors in presenting the heirarchy of
news accurately and accessibly. There is no room for fluff. While
typographical schemes are different from paper to paper (I particularly
like the sophisticated boldness of the London Guardian), the bottom
line is how news is presented in a way that retains journalistic
qualities and judgements. News design by its very nature must be more
restrained, more subservient to the content than other forms of
communication design.
4B. Tyler Whisnand, Amsterdam, www.kesselskramer.com
Headlines sell papers. Does art direction? Does art direction of headlines?
A
paper's reputation sells papers. Sure, sensational headlines have
visceral appeal, but a solidly journalistic newspaper is a critical
mass of the day's stories and its own attitudes towards those stories.
While I may buy a tabloid on occasion because the screaming headline
may be provocative (like, "Britney Spears Caught in Love Triangle with.
. . "), I subscribe to the New York Times because I trust its coverage.
The art direction of headlines must be in the service of the newspaper,
so they are to be read but not obtrusive.
5. Manuel Krebs, Norm, Zurich, www.norm.to
When considering the New York Times, there's two things that really irritate me (I even dislike a lot):
-the
incredibly high amount of advertisement. e.g. in the first part, from
page one until page 32, I find at least 24 pages of pure advertisement.
This is too much, I feel like the newspaper is losing its identity over
that.
-an article would start on page 1 and then continue on page 17, or page 32 etc.
To me, these are unsolved situations. How do you deal with these issues?
I
don't deal with them. I am not involved with the main section of the
newspaper. I am art director of the Sunday Book Review section, which
is what we call a "continuouas read." But I will comment on newspaper
make-up. Alas, what you find objectionable is the reality of the
medium. A newspaper relies on its advertisements for revenue. Only a
small part of the overall operating budget is paid for by circulation.
The Times does, however, attempt to open and usually succeeds at having
full page "news holes" on a regular basis. In any given paper the A
section has at least two if not more full pages, double-trucks, and
other non-advertising news holes. Traditionally a newspaper front page
only starts a story and it invariably jumps into the appropriate
section (a foreign story will jump to foreign, a national to national,
etc.). The Times has more than six daily sections and is packed with
news and features, often designed quite well. My feeling is that for
the most part people are conditioned to read stories that are placed
against advertisements and to follow jumps of page one (usually only
one jump per story). And I feel the Times does this well.
6. Experimental Jetset, Amsterdam, www.experimentaljetset.nl
One
of the more interesting dynamics in graphic design seems to be the
ever-changing relationship between theory and practice. To us, as
Europeans, it seems that in American graphic design theory and practice
are strongly polarized, or at least more than in European graphic
design (if there is such a thing as European graphic design).
American
graphic design seems to be divided in two seemingly separate spheres: a
commercial sphere that has more to do with branding and marketing than
with traditional graphic design, and an academic sphere where theory
and history are to certain degree highly fetishized.
(...)
So in short, the question is: how do you view the relationship between theory and practice in American graphic design?
As
you point out there is a schism between theory and practice. Always has
been because there has long been a schism between academics and
practitioners (the former who teach and the latter who work in the
trenches, more or less). This is party due to the fact that graphic
design was not built upon the philosophies born in design academies of
20th Century Europe. Sure, some American designers adopted the Bauhaus
and built upon its foundation, but not across the board by any means.
Most practitioners were trained in art schools that were more trade
oriented than not. Therefore, theory played a decidedly lesser role in
most designers' educations. Getting good work from a smart portfolio
was the important thing.
(...)
Today there is a mix of
theory and practice. Perhaps it is not as widespread as in European
design academies and practice, but depending on the institution design
students are asked to read and understand theoretical principles. I for
one, however, believe that ultimately practice is the final measure.
Theory only takes graphic design so far - and not far enough in terms
of the designer's actual job category. Theory is a foundation, not an
end product. I think that has been the root of the dichotomy between
the two positions. You are correct there is no real dialectic here, but
there are points of view and ways of practice. Eventually balance will
be established (if it hasn't already) as more designers extend their
educations to allow for more complex levels of practice.
7. Delaware, Tokyo, www.delaware.gr.jp
We
still love Roy Lichtenstein, but we are boring Pop Art. We still
respect Buckminster Fuller, but we can't be interested in New Age. We
want to mix Pop and New Age. We would like to design with the things
everybody knows (the cloud, smoke, steam, do-re-mi-fa, etc...). What do
you think?
Sounds poetic. Sounds fine with me. Sounds
like you should do whatever you want to do. Design is about the here
and now. It is also about knowing history.
8. Francois Chalet, Zurich, www.francoischalet.ch
What do you think about Swiss graphic design of today?
It's
not the Swiss design of yesterday, that's to be sure. Groups like
Benzin and Buro Destruct are quite exciting (however, I go crazy every
time I go to the BD website with its incesent tinkling sound as the
opening page typeface materializes. I can't get that damn tinkle out of
my brain. Stop already!!!!! Stop!!!!!!). Other than this small
complaint, the stereotype of Swiss graphics that was whittled away by
Wolfgang Weingart is totally destroyed by the younger generation. I
guess only the red cross is left. (Incidentally, I read that the Red
Cross is suing Switzerland for trademark infringement). I wish I could
say that new Swiss graphic design has made a splash on American shores.
Although the books are published here (and I have many of them), the
work is so eccentrically varied that it is difficult, I think, for
students to find a single focus. I guess the main difference between
the Swiss work today and yesterday is the absence of an ideological
focus. It both pleases me and saddens me that rigidity is no longer in
fashion.
9. Lizzie Finn, London, www.lizziefinn.com
Whilst
there is a great deal of good, well considered typography for retail
and billboard advertising in London, there has been a widespread trend
of very badly designed signage for municipal buildings, schools and
libraries. What do you think can be done to re-emphasise the important
role of the graphic designer in public organisations where people
seemingly untrained in the basics of typography are using digital
technology to create huge lettering which has a huge affect on the
local environment?
Involve graphic designers in the
overall process early in the planning. I don't know the drill in
London, but here in the colonies signage is not high on the agenda.
Often when these things are seriously considered the budget is small
and the architectural scheme is set. Of course, graphic designers need
not run the show, but I've noticed that when they (as opposed to sign
people in an architect's office) are asked to participate at a point
when it is possible to integrate their work into the total
construction, the signage is more effective - and better looking. I'm
always amazed when I see new high-ticket, luxury buildings around New
York City, like Donald Trump's numerous apartment towers, adorned with
second rate signage.
What a lost opportunity to
integrate sign and structure. Sadly, the bottom-line usually squeezes
out good taste every time. But you can extrapolate this to many areas
where designers are called in at the last minute. Some can work
miracles but many are hamstrung by meager fees and numerous
proscriptions.
10. Ichiro Higashiizumi, Tokyo, www.higraph.com
In
the near future, what might be the next big thing that next alters
people's way of responding or feeling? What kind of a thing, or mood,
do you think allows for that kind of change?
This is a
big question and I'm afraid I don't have a high-powered enough crystal
ball. But I would suggest that there are many icons that have changed
our views of the world. Recently, I saw the cut version of the 40
year-old Zapruder film that captured the assassination of President
John F. Kennedy on November 22, 1963. The frames that were eliminated
for so long reveal the impact of the bullet(s) and the explosion in
Kennedy's head. I still feel the horror and sadness. I was 13 years old
and remember the weekend well because all regular programing on
television was substituted for continual, real-time coverage of the
events. When I saw that piece of film in a recent documentary, all the
feelings welled up again.
This kind of image is
unpredictable. It is that fleeting moment that interrupts the calm of
our lives and makes us aware that life is all too unpredictable.
Since
1963 there have been many images with similar effects, although not all
have been so emotionally devastating. I remember the first time I saw a
photograph of a 8 month old fetus on the cover of Life Magazine.
It awed me in the opposite way. Rather than despair, I felt hope that
science could allow us to finally see the mysteries of life.
Anyway,
I don't know what the next big image will be, but given my lessened
capacity to tolerate shock, I'd rather simply be awed by something
wonderful.
11. Joshua Ray Stephens, New York, www.lostpropertyinformation.com
Hi,
I am a designer who recently moved to Brooklyn. I was wondering if I
can swing by sometime and we could go get some drinks at the Bulgarian
Bar in Chinatown?
Hi, be happy to see ya after the
holidays. Chinatown? Bulgarian? Would you settle for a chat in the
sometimes cozy conference room at the Times?
About Steven Heller
Steven Heller, is the art director of the New York Times Book Review and the co-chair of the MFA/Design program at the SVA, New York. He is contributing editor to Print, Eye, and Baseline magazines and author of several books on graphic design, popular art, and satiric art, among which: The Swastika: Symbol Beyond Redemption?, Design Literacy, Design Literacy Continued, Graphic Style: From Victorian to Digital, The Graphic Design Timeline, Design Dialogues, Typology, The Graphic Design Reader, Citizen Designer, Merz to Emigre: Avant Garde Magazine Design of the Twentieth Century. He is currently writing a biography of Alvin Lustig.
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