I admire Michael's approach to problem-solving in design, tailoring unique solutions for diverse clients. In his project with Saks Fifth Avenue, he brilliantly demonstrated that to craft something both fashionable and timeless, one should reimagine the old in a fresh perspective. His grid solution uniquely transformed the classic curvy logo of Saks Fifth Avenue, rendering it contemporary and appealing. Moreover, his work for the Museum of Art and Design stands out. The typeface, inspired by Columbus Circle, encapsulates the essence of the museum. His ingenious integration of "MAD" into the T-shirt slogan, "If you are reading this, you must be MAD," showcases his creative flair. Additionally, Michael's detailed craftsmanship is evident in the logo system he devised for the NYC map project. The meticulously designed curves and shapes harmonize with the chosen typeface. His commitment to detail isn't merely for communication efficiency; it signifies a deep respect for the enduring presence these logos will have in NYC, emphasizing the importance of aesthetic precision. Lastly, his designs for the library project resonated on a deeper level. They not only redefined spaces but also invigorated the staff, instilling a renewed sense of purpose in their roles. The broader implications of this are vast, potentially benefiting hundreds of thousands of children. It's heartening to witness the tangible social impact of quality design, proving its potential to bind and elevate communities.
https://www.youtube.com/watch?v=RanfCx18gi4&t=1847s
things I find interesting:
how graphic design failure caused Al Gore to lost Florida and caused wars.
nuts family, nuts identity
how to be fashionably timeless?
look like an authority, but still have the capacity to surprise people
challenge: its hard to signal newness unless you have something old to manipulate
64 squares - each square has a lovely moment
secretly no one wants a new logo, they either want someone elses logo, or they want their old logo back
how to behave in church?
new against old : gothic typeface + “hell yes”
how to put a big sign on a glass building without blocking the view?
I love how he use old photographs relevant with NYT to be conference room labels