it is a profession which involves a great deal of drudgery and concern about minutiae that can only be measured in quarter points and millimetres. graphic design has always defined its focus in narrow terms—in ways that may stimulate graphic designers into a frenzy but mean nothing to the rest of society.
—dan friedman

Cover for the book of solutions to the Grid Project at Yale 1993–94.
basel + wolfgang weingart
The Basel School of Design became Friedman’s second attempt to study in Europe, and the difference was mind-blowing: the school was already taken over by rebels and revolutionaries like Wolfgang Weingart who advocated for intuitive, against-the-grid teaching. There Dan Friedman learned all kinds of professional radicalism and was ready to bring it back home.
Dan Friedman, Wolfgang Weingart Speaks to America, poster for a college lecture tour, 1972.



Cover, Typograpfishe Monatsblatter, 19717.


Yale Symphony poster, Beethoven, Brahms, Wagner, 1973. Collection of Tom Strong.
what appealed to me was making things with my own hands, getting dirty, raw and messy. it was the antithesis of working in a clean graphic design environment. —dan friedman

Mutant Chair, 1985. Produced in collaboration with Paul Ludick. © Joe Coscia, Jr.
teaching
Upon returning to States, Dan Friedman started teaching at Yale University. For him personally, New Wave wasn’t just a edgy, punky style but more about developing a new methodology for teaching design. From legibility, Friedman shifted focus to the “unpredictability” of typography, its expressive ability to captivate and move a viewer. A typical exercise Friedman gave to his students was to match a phrase against three pictures in order to expose its alternative meanings.














