The NY Sun takes a look at the impact of graphic design firm Pentagram on the city’s arts institutions. The article focuses mostly on partner Paula Scher, who has created identities for the Public Theater, the Metropolitan Opera, Jazz at Lincoln Center, Symphony Space, the High Line, the Asia Society and a host of others. Scher, who designed the original “Boston” album in 1976, is now designing for the Park Avenue Armory and Drill Hall,......

Designer Michael Bierut has details over at the Pentagram blog on how he and his team created the recently installed sign at The New York Times Building, the 52-story tower designed by Renzo Piano and FXFowle. At 110 feet, the sign, located on the building's Eighth Ave. facade, is a 10,116-point version of the paper’s Fraktur font. It is comprised of 1,000 custom-designed pieces, each a painted extruded aluminum sleeve a little more than......

Studio 360, the public radio show hosted by Kurt Andersen, found the perfect antidote to the daunting task of creating yet another Christmas-themed show: treat it like a brand and ask Michael Bierut of Pentagram – and six of his partners – to redesign it. Bierut’s take on Christmas as a brand (via the NY Times): “If we lived in a Christmas world, all our houses would be Victorian, and we’d be riding around in......

Graphic designers tend to be an even-keeled lot, unless you mess with their precious Futura typeface plans. So at Monday night’s The Art of the Book: Covers With Dave Eggers, Chip Kidd and Milton Glaser, moderated by designer Michael Bierut at the 92nd Street Y, we weren’t surprised that book jacket designer and author Kidd made nice with Panelist Four – a man well into his senior years who boosted the show from the first......

The much ballysomething'd issue of The New Yorker with Target as the only advertiser hit the newsstands and mailboxes yesterday. As reported in the NY Times last week, Target wanted to do something more "breakthrough" to really pay off their "Pay Less, Expect More" mantra, and ended up buying an estimated $1.1 million of media to secure all the ad space in the New Yorker, which is cheap, considering the well-heeled audience and free publicity.......

Very cool article in the NY Times today about the Gotham typeface, which was inspired by simple sans-serif types seen everywhere in the city, and the young typeface was chosed for the cornerstone for the World Trade Center. It was developed by Tobias Frere-Jones at Hoefler Type Foundry, who didn't even know that the typeface had been used for the cornerstone until getting an email from a client and then seeing pictures of it on......