It’s Paula’s World, You’re Just Living in It

Amy Goldwasser visits Paula Scher and her paintings in the House & Home section of The New York Times: “The paintings, large-scale images of cities, states and continents blanketed with place names and other information, are full of mistakes and misspellings and visual allusions to stereotypes of place (‘Africa’ has a parched black-and-gray palette; ‘South America,’ Ms. Scher said, is ‘very sexy, in hot colors, with two ovaries on the sides’). They are not meant to be reliable as maps, but to convey a sense of place that is mediated, and mangled, by Ms. Scher’s imagination and by the overload of media-generated information that feeds it…‘Paula always has more left over,’ (Michael) Bierut said. ‘Excess inventory that builds up during the week. All this extra stuff—extra ideas, extra words, extra colors, all these extra square feet of information that the client just isn’t able to accommodate.’”

Jerry Tallmer interviews Paula in Gay City News: “Design is Paula Scher’s vocation. Maps are her avocation.”

Kudos, John

Mr. John Kudos is included in Step Inside Design’s third annual Field Guide to Emerging Design Talent, curated by Alice Twemlow. Editor Emily Potts writes, “A recent project that’s consumed much of Kudos’ spare time is Splotch Visual Pulse, an online publication he has created with five MICA alumni that represents a collective voice about popular themes in culture.” Several of his projects with Abbott Miller are also featured.

Perfect Swarm

Roberta Fallon reviews the “Swarm” exhibition in The Philadelphia Weekly: “Good exhibits are like great conversation — energizing, enlightening and memorable. ‘Swarm’ at the Fabric Workshop and Museum is such an exhibit.”

Good Eye

Michael Bierut and other designers spot the typographical inaccuracies of “Good Night, and Good Luck,” “Titanic,” and other period films in The New York Times. Of GN&GL, Peter Edidin writes, “It appears that the CBS News sign, prominently displayed in the film’s carefully reconstructed New York newsroom, uses the typeface Helvetica. But Helvetica was not designed until 1957, the year McCarthy died. The movie takes place in the early 1950’s. ‘I thought it was a bit jarring,’ said Michael Bierut, a graphic designer at Pentagram Studio in New York. ‘After all, even in 1957, Helvetica was an exotica Swiss import.’”

Lorraine Wild continues the discussion in a post on DesignObserver.