is a partner, with William Drenttel, in Winterhouse, a design studio in Northwest Connecticut. Their work focuses on publishing and editorial development; new media; and cultural, educational and literary institutions. Recent clients include The Poetry Foundation, Nextbook, New England Journal of Medicine
, the U.S. State Department, Norman Rockwell Museum, Yale Law School, New York University School of Journalism, University of Chicago Press and the National Design Awards.
Previously Adjunct Professor at New York University's graduate program in Interactive Telecommunications, Helfand is currently Senior Critic at Yale School of Art and is the author of several books, including Screen: Essays on Graphic Design, New Media and Visual Culture
(2001) and Reinventing the Wheel
(2002), both published by Princeton Architectural Press. She has also written Paul Rand: American Modernist
(Winterhouse, 1998). She has lectured at the AIGA National Biennial Conference, Cooper-Hewitt National Design Museum, Walker Art Center, Columbia University School of Journalism, the Annenberg School of Public Policy, and the Netherlands Design Institute. She received her B.A. in architectural theory and her M.F.A. in graphic design, both from Yale University.
, a founding editor of Design Observer, is an award-winning graphic designer and writer and a former contributing editor and columnist for Print, Communications Arts
magazines. A member of the Alliance Graphique Internationale
and a recent laureate of the Art Director's Hall of Fame, Helfand received her B.A. and her M.F.A. from Yale University where she has taught since 1994.
Jessica Helfand on Brevity
This Insight Per Minute features Jessica Helfand on brevity.
Scrapbooks: An American History
Yale University Press, 2008
More Books >>
Design Observer Essays
Our Shopping Lists, Our Selves
Jessica Helfand on lists: from the mundane to the historical, the shopping list to the Bill of Rights.
Ezra Winter Project: Chapter Twelve
In the end, Ezra Winter was a man whose devotion to the classical world virtually underscored his every move: it explained his ineffable pursuit of youth, his enduring worship of women, his unyielding obsessions with fantasy and grandeur, lyricism and scale, theatricality and costume, fable and myth.
Ezra Winter Project: Chapter Eleven
The 1930s would prove to be an enormously fertile period in Ezra Winter’s life: following the success of the Radio City murals, the artist embarked on major commissions for the United States Supreme Court, the Federal Reserve Building and the Library of Congress, and in 1939, he debuted his mural for the New York World's Fair.
Ezra Winter Project: Chapter Ten
In April, 1933, Ezra Winter delivers a fifteen-minute live radio talk on the subject of mural painting in relation to modern life, in which he tries desperately to convince himself that he has embraced the modern world.
Ezra Winter Project: Chapter Nine
The Fountain of Youth
would be Ezra Winter's greatest achievement, an enduring cultural icon in the city he loved — and on every possible level, a simply insurpassable feat: it is an extraordinary painting precisely because it is so unbearably autobiographical.
DESIGN OBSERVER ESSAY ARCHIVE
Bill Moggridge 1943-2012
Ezra Winter Project: Chapter Eight
Ezra Winter Project: Chapter Seven
Ezra Winter Project: Chapter Six
Ezra Winter Project: Chapter Five
Ezra Winter Project: Chapter Four
Ezra Winter Project: Chapter Three
Audrey Real Helfand: Designer Manquée
Ezra Winter Project: Chapter Two
Yoshiko Sato 1960-2012
Ezra Winter Project: Chapter One
Late Summer Reading
On the Shoulders of Midgets: A Conversation About Reality TV
For Sale: The Earliest Modern Studio in America
The Look of Freedom
The Public Face of Disgrace
Meet Our Intern: Paul Rand!
Mothers Day Special: Baby, It's You!
The Royal Tweet
New Lives for Old Paper
The Little Savages
When Do We Call it Art?
Certificate of Approval
Does It Have To Be A Lightbulb?
Complete Essay Archive >>