Lorraine Wild is a designer and educator in Los Angeles. She established her own design practice, Green Dragon Office, in 1996 to focus on collaborations with architects, curators and publishers.


Statement

Lorraine Wild is a designer and educator in Los Angeles. She established her own design practice, Green Dragon Office, in 1996 to focus on collaborations with architects, curators and publishers. Recent projects include the design of books for the Whitney Museum of American Art, the Museum of Contemporary Art (Los Angeles), The Getty Museum, and the Canadian Centre for Architecture. She is also a partner in Greybull Press, the Los Angeles-based publisher of unique photographic books. She has been teaching at the California Institute of the Arts since 1985, and was director of the Graphic Design Program from 1985 to 1991. She also served as a project tutor in the 1990s at the Jan van Eyck Akademie in Maastricht, The Netherlands. In 2003, Wild was included in the Cooper-Hewitt National Design Museum’s "National Design Triennial" exhibition. In 2001, she was a finalist for a National Design Award sponsored by the same institution; she was awarded a Gold Medal by the New York Art Director’s Club that same year. She has received numerous awards from The American Center for Design, The American Institute of Graphic Arts, and the American Institute of Architects, among others. Her work and writings have been published in Emigre, Eye, I.D., Print, as well as in many books: The Graphic Edge, Typography Now, Typography Now: Two, Graphic Design in America, Cranbrook Design: The New Discourse, and in numerous volumes of the Looking Closer series. Wild received a BFA from the Cranbrook Academy of Art, and a MFA from Yale University.



Lorraine Wild
The Black Rule
09.14.10

Vignelli Celebration: Lorraine Wild examines The Black Rule as a graphic device in the work of Massimo Vignelli.


Lorraine Wild
Will Burtin: Design and Science
04.15.09

Will Burtin’s story is presented in Design and Science: The Life and Work of Will Burtin. Like all of the emigré “pioneers,” Burtin brought an amazing amount of talent and energy (along with plain old ambition) to his modernist approach.


Lorraine Wild
A Babylon of Signs
01.19.09

For a generation, since Venturi and Scott Brown’s Learning From Las Vegas, most Angelinos neither did not notice the steady proliferation of signs along their Southern California landscapes and strips, nor perhaps cared. With the turn of the century, that changed. For the last eight years Los Angeles has been engaged in a war with the outdoor advertising industry. 


Lorraine Wild
100%
04.07.08

So, it’s 1966 and two guys are hanging around their Los Angeles apartment, musing about the sort of things that people mused about in the Sixties. The aesthetic philosophers in question were the artist Ed Ruscha and the artist/comedy writer/composer/performer Mason Williams...


Lorraine Wild
A New Graphic Design History?
12.06.07

The fog that Stephen Eskilson attributes to contemporary practice permeates this new history of graphic design published by Yale University Press.


Lorraine Wild
Wallace Berman's Photographs
09.12.07

In 1961, Wallace Berman, a California-based artist, publisher of the proto-zine, Semina, gallerist, and photographer, too a picture of his landlady while he was living in Larkspur, California. We see her (the landlady!) sprawled across a bed dressed in a bra and skirt, casually holding a pistol...


Lorraine Wild
Sister Corita: The Juiciest Tomato
01.09.07

In Daniel Berrigan's words, Sister Corita is a "witch of invention." And there is no doubt that at least in those tumultuous years of the 1960s, her powers of invention seemed supernatural, if not divine... Corita's work stands for its sheer graphic invention, the riot of letterforms and color, and the immediacy of its connection to her time and place.


Lorraine Wild
Wassup, Beatrice
07.05.06

I've heard endless definitions and descriptions of graphic design: I can recite them all, and on any given day I can identify with one essentialism over another: e.g., "Today, I'm a conceptualizer." I can even be swayed by the argument that, in fact, we work in a moment when graphic design is devolving as a practice identifiable by any common standards. It makes me think of a woman who I have always found completely annoying in her assuredness — Beatrice Warde.


Lorraine Wild
Good Font, Shame About The Reporting
01.02.06



Lorraine Wild
Think Regional, Act Annual
11.27.05

Flying from New York to Los Angeles last week, I spent the long hours at 35,000 feet doing something I had not done in years: I read the Print Magazine's "2005 Regional Design Annual" cover to cover. Here are some of the things I learned:


Lorraine Wild
Decorum, RIP
09.22.05

Mid-century modern is associated — especially in California — with an easier time, a more casual lifestyle: it's the spatial expression of a loosening of Depression-era habits. We associate restraint with the style of the mid-century, but the contemporary interpretation of that restraint is to connect it to a sort of visual minimalism.


Lorraine Wild
Exhibitions by Renzo Piano and 2x4
07.04.05

Both architect Renzo Piano and graphic designers 2x4 are at the top of their respective games as designers, but the way they approach their own exhibitions (at LACMA and SFMOMA, respectively) places them at opposite poles of a style of communication, and maybe even belief.


Lorraine Wild
A Design Annual Captures 1968
05.07.05

The title on the cover of the booklet is "Business as Usual" subtitled "Fourteenth Annual Type Directors Show—Typography Wherever It Exists"... On every spread of the book there are lovely pieces of typography, things most any of us would have been proud to have created, and then an image as brutal as a slap on the face. It was 1968.


Lorraine Wild
New Year's Housecleaning
01.17.05




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