Are you a typomaniac?
Jonathan Hoefler, of Hoefler & Frere-Jones, writes us that
“After all these years H&FJ is finally looking for a full-time graphic designer to join us. If you know any inveterate typomaniacs—perhaps someone who is obsessive about type, but doesn’t have quite the skill set that your own practice needs?—I’d be grateful if you’d send them my way.”
Jonathan, all I can say is that I just wish I was at least 30 years younger, so I could apply and learn from you and your team. So the next best thing I can do is post it here for all those type-obsessed designers out there who might be ready for a great career change, not to mention the possibility of working with you and Tobias Frere-Jones, and enjoying life in the Big Apple.
Yes, at moments like this, I do wish I was 25 again!
Here is the information for those interested
Company: Hoefler & Frere-Jones
Job Title: Graphic Designer
http://www.typography.com/about/careers.php
Hoefler & Frere-Jones is looking for an experienced graphic designer to work across all aspects of the customer experience. This position is full-time at our offices in New York.
First and foremost, this position demands an absolute mastery of typography, and candidates must have experience with (and enthusiasm for) a wide range of media. You will be responsible for designing and executing all visual materials associated with an established, evolving, and highly visible brand, so experience with identity design is a plus.
Digital projects will include all visuals connected with our website, from the presentation of typefaces to the development of new user interfaces. Print projects will include the design of advertising, catalogs, and type specimens. You will work with our marketing team to conceptualize and execute a wide range of projects, and with a programmer to develop new features and UI improvements for both the front-end and back-end of our website.
In addition to being problem-solvers with fine communication skills, applicants should have a wide range of interests, and impeccable instincts for “what works.”
This is a full-time salaried position with excellent benefits, open to US citizens or those with authorization to work in the US.
Required Experience:
– BS/BA or equivalent
– 5-10 years professional experience
– A fanatical, absorbing passion for typography
– Experience managing print projects from soup to nuts
– Strong online experience, and a working knowledge of HTML/CSS
– Proficiency with the Adobe Creative Suite and Mac OS X
Strong candidates will have:
– Experience in brand development or identity design
– Experience in book or editorial design
– MFA in design, or other relevant post-graduate experience
Please submit a cover letter accompanied by a portfolio of relevant work (under 5 mb, please) to Carleen Borsella, at
hr-graphicdesign08@typography.com.
Here is a note from a Brazilian student, Ravi Atarian, with a question that may be of interest to many of you:
Mario, ???My name is Ravi, I am design student in Campinas-SP, Brazil and I’m about to finish my course this year. ??As a graduation final project, I’m developing a newspaper redesign and your blog has been very helpful when it comes to analyze what’s have been done. I’m a huge fan of your work and I admire your graphic solutions . ??I would like to know if there’s a possibility of you answering the questions below. That would be a great contribution to my project. ??What makes a newspaper be redesigned? ?What difficulties and challenges did you have when redesigning “Folha de São Paulo”? ?What does the change of the visual identity represents on a printed newspaper? ??Many thanks for your attention ??Ravi Atarian
What makes a newspaper be redesigned?
Several factors affect the decision of a publisher/editor to opt for a redesign. These days I prefer to call the process a rethinking, since it allows for greater analysis of the entire publishing operation, not just the cosmetics of how one medium looks.
These are only a few of the factors usually taken into account for a redesign:
1. A repositioning of a newspaper in its market.
2. A change of format.
3. A change in target audience and/or advertising.
4. A change of editor (very common to have a redesign the moment a new editor assumes his/her position).
5. Economic factors: newspaper losing circulation, time for new strategies.
6. A new printing press, more color capabilities to explore.
What difficulties and challenges did you have redesigning Folha de Sao Paulo
Each project has its own challenges and difficulties. All bring in great satisfactions, both personally and professionally. My team and I enjoyed our interaction with the Folha team—-very creative, enthusiastic. At the same time, we had to deal with some highly conservative members of the editorial board, but this was always balanced by the ones who wanted change. I think we settled in the middle, and the Folha of today, especially the front page, is always full of surprises. I still think that the Folha front page is quite unique in its method of navigation.
What does the change in visual identity represent for a newspaper?
It depends on how far the change goes. I say that there are three ways to effect change in a newspaper: it is either a face wash, a shower, or a full bath.
There you go: if you have a full bath, and change a lot, then you have to prepare your readers, so that you don’t alienate the ones who follow you, while trying to attract the new ones you need.
If all you do is change the typographic font, then no pain no gain, nothing really happens. Many of the so called redesigns are nothing more than taking a wash cloth, putting some mild soap on it, and washing your face.
That should not be called a redesign.
Finally leaving the European continent after a busy week at Paris Match preparing for the first issue of the magazine with its new look, out in the streets, Oct. 2.
Now preparing to flight to Oklahoma City, via Dallas, and then prepare for the launch of The Oklahoman, coming up this week.
TheMarioBlog posting #103