Designer names to come
Two Very Different Approaches to the 21st Century Baby
Designer names to come
In my youth, I was easily impressed by drawings with fine linework.
It feels undeniably cool to make such lines. Artists like Norman Lindsay (above), Virgil Finlay, Frank Frazetta and Berni Wrightson enjoyed it so much, they sometimes got carried away drawing delicate little lines.
As I matured, I noticed how some artists added a lower note to the harmony, combining light and elegant lines with heavier lines for emphasis. Below, the great Alex Raymond draws an entire figure using a…
THE LOW NOTE IN THE HARMONY
On actual Halloween night I didn’t even dress up, me and a group of friends just went to Keagan’s where my sister bartends. … Earlier that night I forgot to buy candy so all these little kids were coming to the door looking for candy. All I had handy were airplane bottles of Captain Morgan and some birth control pills — but hey, at least it’s something. I don’t see you giving back to the community.
Bonus: Kelly Link recommends Lynda Barry’s Cruddy for the holiday, a book I’m embarrassed to say I’ve never read, even though my wife recommended it to me years ago when we first started dating. I might give it a try tonight. Why am I more willing to take advice from a stranger on the Internet than from someone whose tastes I know and trust? That is a recurring thing with me, and it is seriously messed up.
This beautiful drawing was done in 1915 by Rudolph Schindler, an architect in Taos, New Mexico. It was part of a proposal for an adobe home for a local doctor, Paul Martin.
This is a museum quality drawing, but it was far too useful to hang in a museum.
ONE LOVELY DRAWING, part 14
For book design geeks like us, it doesn’t get any better than the recently published Seven Hundred Penguins.
I won’t turn this into the Seven Hundred Penguins blog, but I will occasionally take some photos and post them here (yes, scans would be nicer, but this book is not getting smushed onto my scanner). I needed a good laugh today, and all of these brought a smile to my face.
Photograph by Tony Palladino (1968)
Photograph by Brian Worth
Design by Brian E. Rockett (1967)
Design by Erwin Fabian (1960)
3 from Seven Hundred Penguins
Design by David Pearson
Illustrations by Victoria Sawdon
Jessa at Bookslut interviewed the illustrator of this series. Among other interesting comments: “The mirror image style was already set… The problem was making what was an awkward, tall and thin area feel natural in the space and not end up looking like a totem pole.”
Read the interview here.
View the whole series here. (Thanks, JRG!)
Penguin Great Journeys series
Akita Prefectural Library in Japan have a series of six toy design illustration books produced between 1891 and 1913 by (I think) Yamada from Kyoto.
All the images above have been cleaned up to one extent or another. There is a further set of eight images which I cleaned but didn’t post in this webshots album.
Are we seeing any European influence here at all do you think?
Toying With Japan
Yes, Louis Armstrong and Johnny Cash! They’re performing “Blue Yodel No. 9,” which Armstrong recorded with The Singing Brakeman, Jimmie Rodgers, and pianist Lil Hardin Armstrong, on July 16, 1930, in Los Angeles.
This recreation is from The Johnny Cash Show, first broadcast on October 28, 1970. According to Michael Minn’s Louis Armstrong Discography, Armstrong’s appearance on this show marked his return to the trumpet after a two-year health-related hiatus. Listen for the gently bouncing trumpet phrases from 4:14 to 4:19: that’s the sound of a genius at work.
Blue Yodel No. 9 (YouTube)Tags
Invisible man: Louis Armstrong and the New York Times
Each week, the Soundcheck staff digs through their inboxes for the best, catchiest, or strangest music they can find. Here are Soundcheck’s pick for the week ending Oct. 26.
Various Artists, “Sonic Rebellion: Alternative Classical Collection” (Naxos)
If you’re looking for an introduction to modern music landmarks from the past 50 years, you could do worse than this collection. Ignore the cheesy cover and some questionable edits (who knew Terry Riley had a fade-up on his minimalist landmark “In C?”). Then, geek out on short pieces by Cage, Wuorinen, Varese, Crumb, Nancarrow, and a dozen others. –Brian Wise
“Sonic Rebellion” is available for purchase at Amazon.com
Orishas: “Antidiotico” (Universal Music Latino)
This Grammy-winning trio is a hip-hop group of Cuban expats who live in Paris, Milan and Madrid. Their fourth album blends boleros and rumbas with rap and pop. It makes you move … and it provokes, tackling everything from racism to immigration to the Buena Vista Social Club. –Gisele Regatao
“Antidiotico” is available for purchase at Amazon.com
Ben Perowsky’s Moodswing Orchestra: “Volume Two” (El Destructo)
This project from New York-based drummer Ben Perowsky is full of spacey trip-hop beats, oozing bass lines, and the occasional typewriter. In other words, this is late-night, bedroom-recording-studio stuff. Perowsky assembled lots of friends for this odd, but beautiful record, including Cibo Matto’s Miho Hatori, bossa nova singer Bebel Gilberto, and Joan Wasser of the indie group Joan as Policewoman. –Joel Meyer
“Volume II” is available for purchase at Perowsky.com
Grand Valley State University New Music Ensemble, “Steve Reich: Music for 18 Musicians” (Innova)
Out in the farmlands of Allendale, Mich., Bill Ryan, the director of GVSU’s new music group, decided to have his all-student, all-volunteer band learn to play Reich’s 1976 masterwork – long considered one of the most challenging pieces in new music. It was a labor of love –- intense, obsessive love –- and they not only learned to play the piece, they learned to play it well. – John Schaefer
GVSU’s recording of “Music for 18 Musicians” is available for purchase here.
Soundcheck’s CD Picks of the Week (Soundcheck: Tuesday, 23 October 2007)
What I found out on set on other films is, what makes a crew really roll is when the director makes decisions very quickly and very straight. What confuses a crew and actors is when the director is a little bit like, “I’m not sure what to do there.” The minute you’re confused, you lose everybody. But what’s funny is, I didn’t have to push myself too hard—I was never confused. I was always pretty strong and knowing exactly what I wanted to do, and when I didn't—when I had a moment where I didn’t know exactly what to do, I pretended I did. Which made the crew entirely follow me.
I started the fall semester a younger and more idealistic man than I am here at the halfway point (fall break). Still, I survived (and thrived) and things are looking up. September was my transition month from going to grad school to being a grad student: that is, I can say now that if the task or decision before me has nothing to do with 1) my job or 2) school, then its value is marginal and I have to consider whether to spend time/energy on it. (The beauteous Liz, of course, excepted.)
What was so different about this semester?
My manager, who's getting his MBA, had a teacher who often repeated the motto, "Don't wish it was easier--wish you were better." I thought of that often during my transition period--I can't change my deadlines, I'm not going to drop the classes, I can't make the buses run faster, I need to maintain my 45-hour work schedule so I can meet my financial obligations.
And so, at some point, I realized that all this meta-thinking and self-management is part of the learning experience. I've had to re-frame a typical workday from 8a-5pm to 12pm-9pm. I have to dedicate some portion of the weekend to making up time I miss from the office, which means getting better at scheduling. I had to drop my writing group and my banjo lessons, so I could focus my disposable time on school. Many of the habits and routines of my old life that I thought immovable I now see as malleable and, in many ways, optional. Liz has been great about taking on some of my old chores and agreeing that some chores (like yardwork) will have to wait for my attention until the semester is over.
I've also discovered that, even with this tough schedule, I like taking 2 classes at a time. I find that jamming together the class readings causes me to see connections that I would miss were I taking each class on its own. There's also the pressure of trying to meet my obligations that obliges me to make faster connections and discover new ways to re-frame current problems or speed up time.
When I eventually signed up for next semester's classes, I picked one 3-hr class that meets on Mondays, and then picked a Monday-Wednesday class that meets in the morning. I've cleared it with my manager that I will be out of the office on Monday but will make up the time on Saturday and throughout the week. It's an unconventional schedule, but I'm living an unconventional life right now, and that's also something I needed to learn.
From “The Autumn of the Multitaskers,” an essay by novelist Walter Kirn in the November Atlantic:
“Where do you want to go today?” Microsoft asked us.(Thanks to L. Lee Lowe, who pointed her readers to this essay.)
Now that I no longer confuse freedom with speed, convenience, and mobility, my answer would be: “Away. Just away. Someplace where I can think.”
Multitasking makes you stupid
Multitasking: “not paying attention”
On continuous partial attention
Everyone has to start somewhere. Along the line some decision towards design has to manifest itself. Maybe it’s due to your beloved New Order record covers, a logo you see everyday or a book you happen across. For me it was one afternoon looking through a book on Piet Zwart book in the middle of a life drawing lesson. ‘Yes.’ I thought ‘That’s exactly what I’d like to do’. Here are five things of his to look at. Who other than the mighty Mr Zwart could make a cable factory look this stylish?
Charcoal Drawing from Rushlight Literary Magazine (Wheaton College) via dspace.nitle.org
There’s only one thing that all art has in common: a frame.
The frame may be made of metal or wood or it may be purely conceptual, but it is a perimeter that defines where the art ends and the rest of the world begins. No matter how outlandish or varied the art is, no matter whether it is an antique painting or the latest performance art, it is always framed by a boundary that separates the art from the rest of the natural world.
It’s pretty easy to locate the borders of a work of art if it’s on a piece of paper or canvas. However, some artists provoke their audience to think by playing tricks with the location of that border. The great Saul Steinberg jumped off the paper and created illusions, drawing on a bathtub:
or a box:
The clever artist Peter Callesen escapes the bonds of the page another way:
Even the art of Andy Goldsworthy, who makes temporary sculptures in nature using all natural materials, depends on his framing a space where he makes aesthetic choices and alters the natural order of things for the consideration of the viewer:
A few inches to the right or left of this sculpture there are rocks balanced on each other that are not art, but this one has became art because of the conceptual frame around it offered by Goldsworthy. The iconoclast Jean Dubuffet dreams of a day when there is no longer a thing named “art” because the frame is gone:
What is true of art is true of many other things whose virtues fly away as soon as their names are spoken…. [I]t is quite probable that soon the painting, a rectangle hung with a nail on a wall, will become an outdated and ridiculous object– a fruit fallen from the tree of culture and henceforth considered an antique….[T}he notion of art… will have ceased to be conceived of and perceived when the mind will have ceased to project art as a notion to be gazed upon, and art will be integrated in such a manner that thought, instead of facing it, will be inside it….
Until we live in Dubuffet’s utopia, the role of art will continue to depend in part on where we draw the frame .
THE IMPORTANCE OF A FRAME
Noah Iliinsky: “My master’s thesis is a system for creating good diagrams. It starts with the basics of perception and cognition, and walks the reader through the process of making appropriate choices for their particular design problem.”
Someone likes this so much:
That they did this:
Someone Really Likes Gray 318’s Men and Cartoons Cover
“This is a DIY [video] I did on how to make a one sheet zine. D-I-Y — a real American Hero! Remember kids, Folding is half the battle. You’ll need: One piece of paper, scissors and a Pen…” (And here’s a step-by-step on Flickr: Wanna make a neat, fun zine that only uses one sheet of paper? Of course you do.)
“If you can pronounce correctly every word in this poem, you will be speaking English better than 90% of the native English speakers in the world. After trying the verses, a Frenchman said he’d prefer six months of hard labour to reading six lines aloud. Try them yourself.”