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The Persuader
My personal blog, started in 2006. No paid or guest posts, no link sales.
Posts tagged ‘graphic design’
27.02.2023

I needed a 2023 wall planner today, but none of the downloadable ones really suitedâso I made my own. Rather than keep it to myself, I thought I’d offer it as a free download, in case anyone else wants it. They’re two A4s, six months on each, but as the file’s a PDF, you can scale it to A3 without any loss in quality.
The PDF is here (89,747 bytes)âhelp yourself. And yes, I know it’s nearly March.
When I was around five going on six, I found great joy making little calendars. The Massimo Vignelli Stendig calendar was still very influential in the mid- to late 1970s, and many designers followed that lead. They fascinated me, and I got used to the patterns (how April and July start on the same weekday, as do September and December; in non-leap years, so do February and March, and January and October). I remember drawing (on A4s) calendars out from 1978 to 1980 to study these patterns. Of course, 1980 was a leap year, which threw up different patterns.
Ever the perfectionist, there was one month where I missed some days. Upon realizing my mistake, I became frustrated, and stopped. If I had Twink or Liquid Paper I might not have stopped!
When I had to design some calendars for work in the 2010s, the Stendig calendar still came to mind, but certain practical considerations meant I couldn’t ape it completely. Still, there was plenty of big Helvetica on it.
Tags: 1970s, 1978, 2023, calendar, childhood, design, graphic design, Helvetica, Massimo Vignelli, memory, modernism, office, typography Posted in business, design, typography, USA | No Comments »
02.08.2022



Here are three Elle covers that I uploaded to last monthâs gallery, from 1991, 2007 and 2022. Which looks the most modern?
To me, itâs the 1991 US one. The Futura Light type is calm, it all looks rather balanced, and the photograph is well lit and composed. From memory, it was commended by the Society of Publication Designers in New York but I have to check my old annuals.
Go to 2007 and thereâs just too much clutter, and the custom type looks uncomfortable, especially the bolder cut. The 2022 cover sits somewhere in between, but it feels like itâs the dawn of desktop publishing with different sizes and weights, and type inside circles.
Granted, Iâm not comparing apples with apples, as the 21st-century covers are for the French market, and the 2022 cover isnât strictly for Elle but the Elle Corps summer special. Makes you wonder what timelessness is, and if such a thing even exists. Many of the old covers for Lucire that I art-directed were meant to be timeless, too, but how they have dated! Is it about calm, a lack of clutter, and a sensible, restrained use of type? Or does that in fact date things, and we’re just at a moment in time when the 1991 cover’s trends have come round again?
Tags: 1991, 2007, 2022, design, Elle, France, graphic design, Hachette, layout, publishing, typography, USA Posted in design, France, media, publishing, typography, USA | No Comments »
01.06.2021
Iâm not a comedian by any stretch of the imagination (neither are a lot of the people on comedy programmes here in Aotearoa) but every now and then my mind goes to funny places. Such as this:

Since Coming 2 America was so uniformly awful (the best bits are in the trailer), this was another terrible sequel idea that came to mind today. Non-antipodeans who donât know of Eric Banaâs past might not think his fictional casting here being terribly funny, but for a lot of us he was a comedic actor before he was the Hulk or the Time Traveler (one l, just this time, for the movie). But I couldnât think of another funny 40-something Australian who had done some action.
I always felt the way Vernon Wells played Bennett in the original was campy, as though he could see the conceit behind the whole thing of being in a Schwarzenegger movie in the mid-1980s. He wasnât above parodying himself when he appeared in Weird Science in a role that recalled Wez in Mad Max 2.
In case this comes up in a search while a Hollywood exec is looking up Commando II, please be advised that this would be a rotten idea.
Tags: 1980s, 2021, celebrity, design, film, graphic design, humour, typography Posted in culture, design, humour, USA | No Comments »
08.02.2021

Above: Vogue Koreaâs website follows the ĂŠsthetic of a big lead image and smaller subsidiary ones.
This started as a blog entry but took a tangent about 500 words in, and it was better as an opâed in Lucire. Some of the themes will be familiar to regular readers, especially about Big Tech, but here I discuss its influence on web design trends and standardization. The headline says it all: âWhere have the fun fashion magazine websites gone?â. Browsing in the 1990s was fun, discovering how people coded to overcome the limitations of the medium, and, in my case, bringing in lessons from print that worked. Maybe itâs an age thing, or the fact I donât surf as much for leisure, but in 2021 the sites I come across tend to look the same, especially the ones that were in Lucireâs âNewsstandâ section.
I do know of great sitesâmy friend and colleague Charlie Ward has his one, which does everything you would expect from a great designerâs web presence. So many others look like theyâve bought a template. As to those of us in magazinesâIâd love to see something that really inspired me again.
Tags: 2010s, 2020s, 2021, Charlie Ward, design, designer, editorial design, graphic design, Lucire, publishing, trend, web design, website Posted in design, internet, media, New Zealand, publishing, technology, Wellington | No Comments »
27.09.2019
Like many, I headed to the Kilbirnie mosque to pay my respects several times after March 15, but I would like the events of that day to be remembered beyond those that. I want our Muslim whÄnau here to know that I haven’t forgotten them, and here is my way of showing that.

Tags: 2019, Aotearoa, Christchurch, design, graphic design, Islam, Jack Yan, New Zealand, typography Posted in design, New Zealand, typography | No Comments »
23.04.2019
Postscripts: click here to read why I’m considering ceasing to post on NewTumbl, in November 2020. Click here to read about NewTumbl’s encouraging response in December 2020. And, just over a week later, how the site really has become too puritanical for its own good.

Tumblr is dead, long live NewTumbl.
I came across NewTumbl (formally newTumbl) a few days ago, after finding my Tumblr feed just wasnât what it used to be. Itâs not that the dirty pictures are goneâI only ever followed one blog where the images might be considered sensualâbut that the energy was. Those friends whose posts interested me werenât posting much any more, and it wasnât just them: my posting had diminished significantly. Platforms, I imagine, have a shelf life, and when announcements such as Verizonâs last year, which became known, perhaps incorrectly, as Tumblrâs âporn banâ, it was bound to affect the platform. It was the language that opened Verizon up to ridicule: apparently, they had a problem with âfemale-presenting nipplesâ, and some innocent content was flagged for removal.
What Verizon had really underestimated was that among the adult imagery were communities that were having free and safe discussions about sexuality, and sex workers themselves had a place where they, too, could post. It wasnât an âadultâ site per se, considering the overwhelming majority of the content was family-friendly. That perhaps kept the place relatively safe: you could have these private discussions while coming across general posts featuring interesting photography or good political viewpoints. Tumblr also hadnât descended into the political divisiveness that plague platforms such as Twitter.
I liked Tumblr for many reasons. It became a fun place to post interesting graphics for me, and to put anything that I didnât want to structure into long-form thoughts. It was image-based. Every now and then I would put up a quotation. The Font Police blog is still there, with over 20,000 followers.
I liked the fact that for years, someone would get back to you when you posted a query. This was true even after Yahoo acquired it.
But during the Blogcozy experiment, which sadly resulted in that platformâs closure, I cut down my time on Tumblr, because I had found a more suitable place to put those brief thoughts and to share with friends. Had Tumblr been a greater draw, I wouldnât have considered it. After Blogcozy closed, I didnât really resume my Tumblring to the same extent. Social seemed to be dying, since it was being run by Big Tech firms that lied as their main position. Even if Tumblr was more honest (and it was), the age of social media seemed to be at an end.
I may have been wrong, because since posting on NewTumbl Iâve been impressed by the sense of energy there. Yes, it has attracted a great deal of the adult posters who left Tumblr. But if you donât want to see X-rated stuff, you say so in the settings, and adjust to M (for mature), O (for office), or even F (for family). You won’t see anything coarser than what you chose (with the occasional exception when posters did not have a clue how the ratings’ system works). The interface is familiar-but-different-enough for Tumblr users and Verizon lawyers. Yet it goes beyond what Tumblr does, with the smart use of Interstate as the body typeface, and photos in multi-image posts actually appear in the order you load them.
Itâs not perfect: I couldnât link a video but I could upload; and I managed to stumble on a 404 page by following links, both of which Iâll report, since they make it so easy to do.
But hereâs the really good thing: the transparency. One of the main developers, Dean, talks to users and provides feedback. Heâll even post when an error occurs during developmentâthatâs something youâll never see Facebook do when its databases die.
He and I have already exchanged notes via DMs after I joined for two days, and I said I saw so many parallels between what he was doing and what I saw with Tesla when Martin Eberhard was running it (transparency over ego), or even in the days when Jerry and David were building YahooâIâm old enough to have been submitting sites to them while they were still being run out of a garage. Thereâs an exciting sense with Dean and the small NewTumbl crew that theyâre building something useful for the world, celebrating free speech and humanity. Am I being overly optimistic? I donât think I am: I enjoy the UI, I like the openness and honesty, and these are just what the tech sector needs. I see a draw for spending my time here even though I have zero followers to my blog. The buzz feels similar to when I discovered some sites back in the 1990s: it seems new and exciting.
Itâs also rather nice being the first person to populate some fandom hashtags, though I was second for Doctor Who, and for anyone ever searching for The Avengers, they will see, rightly, a photograph of Diana Rigg and Patrick Macnee.
Iâll see you there at jackyan.newtumbl.com. Lucire also has a NewTumbl at lucire.newtumbl.com.

Above: The one thing I posted to Tumblr that went viral, in 2011.
Tags: 1990s, 2018, 2019, Blogcozy, blogosphere, design, graphic design, history, internet, NewTumbl, social media, technology, Tumblr, user interface, Verizon, Yahoo! Posted in business, culture, design, internet, marketing, New Zealand, TV, USA | 3 Comments »
10.11.2018
Megan McArdleâs excellent opâed in The Washington Post, âA farewell to free journalismâ, has been bookmarked on my phone for months. Itâs a very good summary of where things are for digital media, and how the advent of Google and Facebook along with the democratization of the internet have reduced online advertising income to a pittance. Thereâs native advertising, of course, which Lucire and Lucire Men indulged in for a few years in the 2010s, and I remain a fan of it in terms of what it paid, but McArdleâs piece is a stark reminder of the real world: there ainât enough of it to keep every newsroom funded.
Iâll also say that I have been very tempted over the last year or two to start locking away some of Lucireâs 21 years of content behind a paywall, but part of me has a romantic notion (and you can see it in McArdleâs own writing) that information deserves to be free.
Everyone should get a slice of the pie if they are putting up free content along with slots for Doubleclick ads, for instance, and those advertising networks operate on merit: get enough qualified visitors (and they do know who they are, since very few people opt out; in Facebookâs case opting out actually does nothing and they continue to track your preferences) and theyâll feed the ads through accordingly, whether you own a ârealâ publication or not.
It wasnât that long ago, however, when more premium ad networks worked with premium media, leaving Googleâs Adsense to operate among amateurs. It felt like a two-tier ad market. Those days are long gone, since plenty of people were quite happy to pay the cheap rates for the latter.
Itâs why my loyal Desktop readers who took in my typography column every month between 1996 and 2010 do not see me there any more: we columnists were let go when the business model changed.
All of this can exacerbate an already tricky situation, as the worse funded independent media get, the less likely we can afford to offer decent journalism, biasing the playing field in favour of corporate media that have deeper pockets. Google, as we have seen, no longer ranks media on merit, either: since they and Facebook control half of all online advertising revenue, and over 60 per cent in the US, itâs not in their interests to send readers to the most meritorious. Itâs in their interests to send readers to the media with the deeper pockets and scalable servers that can handle large amounts of traffic with a lot of Google ads, so they make more money.
Itâs yet another reason to look at alternatives to Google if you wish to seek out decent independent media and support non-corporate voices. However, even my favoured search engine, Duck Duck Go, doesnât have a specific news service, though itâs still a start.
In our case, if we didnât have a print edition as well as a web one, then online-only mightnât be worthwhile sans paywall.

Tonight I was interested to see The Guardian Weekly in magazine format, a switch that happened on October 10.
Itâs a move that I predicted over a decade ago, when I said that magazines should occupy a âsoft-cover coffee-table bookâ niche (which is what the local edition of Lucire aims to do) and traditional newspapers could take the area occupied by the likes of Time and Newsweek.
With the improvement in printing presses and the price of lightweight gloss paper it seemed a logical move. Add to changing reader habitsâthe same ones that drove the death of the broadsheet format in the UKâand the evolution of editorial and graphic design, I couldnât see it heading any other way. Consequently, I think The Guardian will do rather well.
Tags: 2010s, 2018, advertising, Australia, design, Duck Duck Go, editorial design, Facebook, Google, graphic design, history, independent media, JY&A Media, Lucire, Lucire Men, magazine, media, newspapers, online advertising, printing, publishing, The Guardian, The Washington Post, UK, USA Posted in business, culture, internet, marketing, media, New Zealand, publishing, UK, USA | No Comments »
29.05.2014
The below ran in Lucire today, though it is equally suited to the readers of this blog.

RIT
Massimo Vignelli, who passed away on May 27, was a hero of mine. When receiving the news shortly before it hit the media in a big way, from our mutual friend Stanley Moss, this titleâs travel editor and CEO of the Medinge Group, I posted immediately on Facebook: âIt is a sad duty to note the passing of Massimo Vignelli, one of my heroes in graphic design. When I was starting out in the business, Massimo was one of the greats: a proponent of modernism and simple, sharp typography. His influence is apparent in a lot of the work done by our brand consultancy and in our magazines, even in my 2013 mayoral campaign graphics. A lot of his work from half a century ago has stood the test of time. There was only one degree of separation between us, and I regret that we never connected during his lifetime. The passing of a legend.â
This Facebook status only scratches the surface of my admiration for Vignelli. There have been more comprehensive obits already (Fast Company Design rightly called him ‘one of the greatest 20th century designers’), detailing his work notably for the New York subway map, andâcuriously to meâglossing over the effect he had on corporate design, especially in the US.
Vignelli, and his wife Lella, a designer in her own right and a qualified architect, set up the Vignelli Office of Design and Architecture in Milano in 1960, which had clients including Pirelli and Olivetti. In 1965, they moved to New York and Vignelli co-founded Unimark International (with Ralph Eckerstrom, James Fogelman, Wally Gutches, Larry Klein, and Bob Noorda), where he was design director. It was the worldâs largest design and marketing firm till its closure in 1977.
The 1960s were a great time for Vignelli and his corporate identities. He worked on American Airlines, Ford, Knoll, and J. C. Penney, and the work was strictly modernist, often employing Helvetica as the typeface family. Vignelli was known to have stuck with six families for most his workâBodoni was another, a type family based around geometry that, on the surface, tied in to his modernist, logical approach. However, there were underlying reasons, including his belief that Helvetica had an ideal ratio between upper- and lowercase letters, with short ascenders and descenders, lending itself to what he considered classic proportions. The 1989 WTC Our Bodoni, created under Vignelliâs direction by Tom Carnase and commissioned by Bert di Pamphilis, adheres to the same proportions.
Although my own typeface design background means that I could not adhere to six, there is something to be said for employing a logical approach to design. American corporate design went through a âcleaning upâ in the 1960s, with a brighter, bolder sensibility. Detractors might accuse it of being stark, the Helveticization of American design making things too standard. Yet through the 1970s the influence remained, and to my young eyes that decade, this was how professional design should look, contrary to the low-budget work plaguing newspapers and books that I saw as I arrived in the occident.
When the Vignellis left Unimark to set up Vignelli Associates in 1971 (and later Vignelli Designs in 1978), their stamp remained. The MTA launched Vignelliâs subway map the following year, and like the London Underground map by Harry Beck in 1931, it ignored what was above ground in favour of a logical diagram with the stops. Beck was a technical draftsman and the approach must have found favour with Vignelli, just as it did with those creating maps for the Paris MĂ©tropolitain and the Berlin U-bahn.
New Yorkers didnât take to the Vignelli map as well as Londoners and Parisians, and it was replaced in 1979 with one that was more geographically accurate to what was above ground.
In 1973, Vignelli worked on the identity for Bloomingdaleâs, and his work endures: the Big Brown Bag is his work, and it continues to be used by the chain today. Cinzano, Lancia and others continue with Vignelliâs designs.
Ironically, despite a rejection of fashion in favour of timelessness, some of the work is identified with the 1960s and 1970s, notably thanks to the original cut of Helvetica, which has only recently been revived (a more modern cut is commonplace), and which is slightly less popular today. Others, benefiting from more modern layout programs and photography, look current to 2010s eyes, such as Vignelli Associatesâ work for the Museum of Fine Arts, Houston.
The approach taken by Lucire in its print editions has a sense of modernism that has a direct Vignelli influence, including the use of related typeface families since we went to retail print editions in 2004. Our logotype itself, dating from 1997, has the sort of simplicity that I believe Vignelli would have approved of.
Vignelli was, fortunately, fĂȘted during his lifetime. He received the Compasso dâOro from ADI twice (1964 and 1998), the AIGA Gold Medal (1983), the Presidential Design Award (1985), the Honorary Royal Designer for Industry Award from the Royal Society of Arts (1996), the National Lifetime Achievement Award from the CooperâHewitt National Museum of Design (2003), among many. He holds honorary doctorates from seven institutions, including the Rochester Institute of Technology (2002). Rochester has a Vignelli Center for Design Studies, whose website adheres to his design principles and where educational programmes espouse his modernist approach. It also houses the Vignellisâ professional archive.
He is survived by his wife, Lella, who continues to work as CEO of Vignelli Associates and president of Vignelli Designs; their son, Luca, their daughter, Valentina Vignelli Zimmer, and three grandchildren.
Tags: 1960s, 1970s, American Airlines, Bloomingdaleâs, Bodoni, branding, Cinzano, corporate identity, education, fashion, Ford, graphic design, Helvetica, history, Italy, J. C. Penney, Knoll, Lancia, legend, Lucire, Massimo Vignelli, Medinge Group, Metropolitan Transit Authority, Milano, modernism, New York, NY, retail, RIT, Rochester, Stanley Moss, Tom Carnase, typeface, typeface design, typography, USA, Vignelli Associates, WTC Posted in branding, business, design, marketing, typography, USA | No Comments »
26.09.2012
The new Myspace from Myspace on Vimeo
Justin Timberlake may have played Sean Parker in The Social Network, but he’s had a real-life social networking role to play as an investor as Myspace (sans intercapitalized S) showed off its new look yesterday.
And I like it.
After being frustrated with another attempt at ordering photos in a Facebook album (viz. it doesn’t work any more), seeing that fan page views had gone way down (as Facebook forces us to pay for promoted statuses), and noticing that I was largely using Facebook as a glorified version of Digg, it dawned on me: there must be a better way. As I told Facebook in a survey tonight:
These are actually reasons to leave Facebook or to find an alternativeâand right now, the MySpace reboot is looking way better. Facebook is little more to me than a glorified Digg now where I share some bookmarks, but not where I share my real statuses. And we all know what happened to Digg.
It’s a slight exaggeration as some of my closer friends get some status updates, but the majority come via Twitter, and that’s plugged in to my Facebook.
Twitter, too, no longer has the effectiveness it once had in itself, unless you are directly contacting someone.
About the only newer (2007 and on) platform I get any pleasure out of is Tumblr, but that’s not what I call a social network.
It’s funny, because one year ago, I was raving about Facebook Timeline. How Facebook gave me instant gratification through “likes” and how it looked so clever. But then, as with the Oldsmobile Toronado, designers tinkered with it. They added unnecessary features, such as the second friends’ box. Anything that was ingenious about the original Timeline, such as the way it could guess your most significant past moments, disappeared or was pushed downâor rendered useless. The fact that fan pages still don’t update on the 1st of each monthâa bug that existed when Facebook first created Timelineâsuggests to me that the company doesn’t really care any more about the user experience. It’s all about the money, and when that happens, the lovin’ feeling’s goneâjust as it had with Google, which I also used to rave about.
While the pundits are saying that Myspace is great because it focuses on music, they are missing the other angle. Based on the preview, it’s a visual delight. It makes updating your social network look good, and you have a fleeting moment of pride as you see the next status go live. We’re so spoiled with technology now that we like those experiencesâand the new Myspace user interface, created by Australian firm Josephmark, captures that part of us. I can dig updating in News Gothic.
Freed from the clutches of the Murdoch Press, Myspace might come good againâat the perfect time as Facebook fatigueâand even a bit of Twitter fatigueâsets in. I never thought I would say that.
I just hope the new management keep the website clean: don’t do a Facebook.
And I still have more friends on Myspace than I do on Google Plus, so I am starting from a bigger number than I did on Facebook all those years ago.
Tags: celebrity, design, Digg, Facebook, graphic design, Murdoch Press, MySpace, social media, social networking, technology, Twitter, typography, USA, user interface, Web 2·0 Posted in business, design, interests, internet, media, technology, USA | 4 Comments »
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