This year, we have added a dedicated awards contest because the truth is that students and educators have increasing influence on the changing shape of communications, media and culture.
Trend cycles that used to run in 30-year chunks are now cycling through at half that rate, if not less.
Turning potential reality into graphic representation has never been insurmountable by a crafty pack of designers.
Watch these marks, as they seem to rise out of a deep fog to expose themselves to the public.
Rising color is a subtle approach to the separation of layers or depth in a logo.
As a continuing homage to a Spartan lifestyle and not candy-coating our words, form in logo design is wearing the simplicity moniker like a badge of honor.
Pairing the austere aesthetic of the previous category with the unencumbered clarity of simple transparency creates a message as evident as its construction.
Unless we’re talking to flat-Earth folk, a few parallel stripes circumscribing the globe are basically concentric circles.
Each year provides us with a glimpse at what digital symbolism has entered into the general public’s vernacular.
As happens from time to time, resurgence in the popularity of a motif will resurface with a vengeance.
Virtual reality has taken off, and the race to create the best mind-blowing experience without leaving a tether is on.
Obfuscation of the premise of your logo is tantamount to talking to someone in a whisper.
Going against every rule of smart identity design, this works.
In a marriage of several past trends, the idea of Links, Simplicity, and Monoline all converge for a plethora of marks that we’ll refer to as Doubles.
This trend caught me a bit off-guard based on the number of designers that landed on this idea without an evident epicenter logo causing the anomaly.
Besides being a great place for birds to perch, there’s just not a lot of space to do much of anything on a line.
Personally, I think a beautiful wordmark is the epitome of clarity and functionality.
Design education and educators have more influence than ever on the fast-changing shape of design, media and culture. In this spirit, GDUSA presents its “2017 Educators To Watch.”
Classic strengths balanced by serious challenges characterize the state of print design in an age of digital and social media.
Designers value print for its classic strengths and how these can be effectively leveraged to convey a message or a feeling.
We asked designers whether there are particular clients, industries, projects or demographics where print remains especially relevant.
In this moment of in-your-face political activism, many designers say that print works well to help express, embody and make tangible political expression.
Welcome to our annual showcase of the power of design to enhance websites and online communications.
Mary Scott recently became Director Emeritus of Academy of Art University’s School of Graphic Design.
Phil Hamlett is the Director of the School of Graphic Design at the Academy of Art University in San Francisco.
Jason Fox began his teaching career as a part-time professor in 2000 while working as a creative manager and illustrator in the dental industry.
Keetra Dean Dixon is a designer whose work inhabits speculative terrain, leveraging emergent technologies and process-focused making.
Cindy Buckley Koren has worked with clients like AT&T, Global Finance and Runner’s World Magazine and lives in Upstate NY in order to teach and raise her family.
Cate Roman is an accomplished educator, designer, and storyteller whose work in education and for private clients spans more than 20 years.
Courtney Hurst-Windham is an Associate Professor of Graphic Design in the School of Industrial + Graphic Design at Auburn University.
James Goggin is a graphic designer and educator from London via Sydney, Stockholm, Copenhagen, Auckland, Arnhem, and Chicago.