Tag Archives: Graphic Design


In Hue’s summer issue (coming out very soon!), John Malozzi, Advertising Design ’96, explained how he, along with his colleagues at FutureBrand, developed American Airlines’ new logo and brand identity. Hue is excited about the new logo, a beakish abstraction penetrating a diagonal line.

American Airlines’ new logo.

But why is it a good logo? Hue turned to Malozzi’s favorite FIT teacher, Eli Kince, associate professor of Communication Design, to talk about American’s logos over the years. Here’s what he said.

“Fine artists were the original graphic designers. They used to call them commercial artists. When logos first came out, they were literal imagery of products that appeared on buildings and on packaging. American’s first logos were examples of commercial art.

American Airlines’ early, quite literal, logos.

“By 1968, the AA logo had equity. It takes time to build familiarity like this, to convince people to believe in and trust your company. When they get familiar with your logo,  you can make it simpler and more abstract. In Massimo Vignelli’s successful 1968 logo, the ‘AA’ was structurally sound, monolithic, beautiful. The blocky shape of the ‘A’s communicated solidity, dependability, safety, and security. Graphically, we see triangles as dangerous, round shapes as warm and fuzzy, blocks as secure. Of course, people want to fly on a solid airline.

The highly recognizable 1968 American Airlines logo by Massimo Vignelli.

“In the computer age, consumers are ready for even more abstraction in logo design. A modern logo isn’t a combination of colors, it’s a combination of energy. You use color and lines to create vibrations. It’s like a relationship between people: after we get to know each other, the energy of who we are begins to show up. After a while we don’t even see each other, and we know each other by energy or spirit. The abstractness of the eagle form coming out of this vertical line, it says direction, it says this airline is going against the grain.”



“When I was your age,” Grandpa Hue used to say, “typing wasn’t easy like it is with you and your iThis and smartThat. We had to work to put our thoughts on paper.”

Hue finally understood Grandpa’s wisdom on Sunday, April 21, at Type-In NYC, “a jam session for manual typewriters and the people who love them.”


This is how Hue imagines newsrooms of yore.

The lobby of Theatre 80 on St. Marks Place was packed with manual typewriters; it verily echoed with the clacking of keys. A speed-typing contest brought high-stakes intensity to an already nerve-wracking pastime.


On the left, a TV news reporter. On the right, Bryan, a thirteen-year-old typewriter collector/salesman who owns 76 of them. Check them out at typewriters101.weebly.com.

To type on these stunning but maddening machines, Hue had to jam down hard on each key, a process which required great finger strength and a steep angle of incidence. Typing too quickly would jam the typebars together. And forget the delete key; if you make a mistake, you might as well just jump off a bridge.

Underwood Typewriter

Hue’s first dalliance with an Underwood. Note the missing number 1.

Oh, and there was the pesky problem of the number 1. Most of the typewriters didn’t have one. “You have to type a lowercase ‘L’,” counseled everyone.

Type-In NYC resulted from a far less frustrating mechanical passion. Michael McGettigan, co-owner of Trophy Bikes in Philadelphia, rendezvoused with Steven Huang, Graphic Design ’99, over their mutual adoration of Brompton folding bikes. When Huang heard about the Type-Ins McGettigan had been organizing all over the world since December 2010, he offered to help out. Theatre 80 offered its lobby gratis (other establishments thought the noise would upset customers), and typewriter collectors near and far brought their beauts.

The winners of the speed-typing contest, Matt and Michael (not the organizer, who shares his first name). “They’re fun to write poetry on,” Michael says of his small collection of typewriters. “It gets friends and family looking forward to opening the mailbox.”

“Workers and hippies have sit-ins, so why not have a type-in?” McGettigan quipped.