Inspiration Archives

Designing a good story

Editorial design by Massimo Vignelli (Vignelli Associates, 1962-2008)

NYCTA Graphics Standards Manual designed by Massimo Vignelli, 1970.

Knoll brochure for Saarinen collection, 1970. Designed by Massimo Vignelli/Unimark International with photography by Nils Bygholm. (vignellicenter)

99×99s | Luke Stephenson. London-based Stephenson looks at a full study of the quintessential inexpensive British ice cream dessert which is simply a swirl of vanilla ice cream spat unceremoniously into a flimsy synthetic cone. In the age of artisanal everything, nice to harken back to simpler times…

Color palette for Wes Anderson’s Rushmore, 1998. Dark tones, muted reds, mauve, muted violets, muted blues. Cinematographer, Robert D. Yeoman.

Empty New York, by Duane Michals. A series of photographs that he produced at the start of his career in the 1960s, is currently on view at the D.C. Moore Gallery.

Empty New York | Duane Michals (D.C. Moore Gallery, New York). A series of thirty rare gelatin silver prints dating from the 1960s, the exhibition focuses exclusively on Michals’ early exploration of transitional early morning moments in New York City shops, parks, subway cars, and train stations. The influence of Eugene Atget clearly had a large impact on the artist’s early formative years.

In honor of Cinco de Mayo, celebrate the diverse world of Mexican art. “Goddess Figure (Chalchiuhtlicue),” c. 250–650, Mexico; “Saint Francis Xavier,” 18th century, Mexico; “Serape,” c. 1920, Mexico; “Red Volcano,” c. 1921–23, by Dr. Atl; “Mexican Pueblo,” 1929, by José Clemente Orozco; “Liberation of the Peon,” 1931, by José Diego María Rivera; “Sugar Cane,” 1931, by José Diego María Rivera; “Dawn,” 1939, by José Chávez Morado; “Angelito mexicano (Mexican Cherub),” 1984, by Graciela Iturbide; “Black Kites,” 1997, by Gabriel Orozco (philamuseum)