Tetragrammaton.

Tetragrammaton.

Tell me about the world that you entered as a designer.

Describe the work environment that you came into when you were starting.

I was entering a world where there was a movement from calling commercial art graphic

design.

And that was something that I learned at Tyler School of Art.

Now, when I was in high school, I thought that was called commercial art, things that were

signs, things that were record covers, things that were book jackets, that was all part of a thing.

And there was something in the word commercial that was a little bit of a put-down.

There was a designer named Dwiggins from the 20s who had coined the term graphic design,

and that if you were making graphic design, you were a graphic designer.

So in entering that, there was an understanding that you were moving to a higher level profession in terms of the way you might

be perceived, though most people didn't know that yet. And that the world that I entered was the

world of the 60s. And, you know, there were a lot of political posters. There were Vietnam

war protests. There were things that were, you know, from Hayd Ashbury.

There was Victor Moscoso, an incredible designer who actually was Yale graduated and studied

with Alpers on color theory and then was doing the wildest, most outrageous behavior that

we all loved.

Wow.

And that was in the music business.

It was the Phil Maurice type posters.

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