When Sagmeister Inc chose to announce that it had become Sagmeister & Walsh, it must have seemed like a fun and appropriate idea to update the studio’s original naked mailer with a new nude shot featuring both partners. But will it have as positive an effect on the career of Jessica Walsh as it did on that of the studio’s founder?
“It’s not you, it’s me…” No-one ever wants to hear that, do they? Or how about “…you are too much an individual for this agency…”? Erik Kessels suffered both of these let-downs early in his career as he told us at the first in a series of lectures organised by D&AD North. Perhaps he shouldn’t have worn a chicken suit on his first day of work.
In 1991 , the emergence of new digital technologies was opening up the design of typefaces to a generation keen to push the limits of language and the very definition of what a font could be. Fuse, the experimental publication launched that year by Jon Wozencroft and Neville Brody, gave such designers a platform. As a new book brings together its 18 issues in one volume, Mark Sinclair reviews Fuse’s important, perhaps overlooked, contribution to graphic design