After reading 50 or so captions, I thought that I should share this gem. Fuck You Very Much is a visual breath of fresh air. Besides, in my book, when you are insulted, there isn’t a better comeback than **** You Very Much.
After reading 50 or so captions, I thought that I should share this gem. Fuck You Very Much is a visual breath of fresh air. Besides, in my book, when you are insulted, there isn’t a better comeback than **** You Very Much.
New Industry Arts delivers a curated collection of content that will knock your morning socks off. Sit back with your coffee and enjoy the good. Via QBN.
Are you satisfied by design books that only include one book between the covers, or would you prefer a design book that delivers 100 books between just two covers? What if those books were design classics without which you couldn’t live? Well, that’s basically the pitch for Bibliographic, a new book by Jason Godfrey, published by Laurence King. Bibliographic is a compilation of “the best” design books from the last 100 years. The book even includes shots from manuals by László Moholy-Nagy and Josef Müller-Brockmann. I checked it out at a local store and was impressed by the material. In some cases, you simply can’t find the books that are included in Bibliographic
Listen to Angus Hyland of Pentagram Design talk about the book, if you need an expert, second opinion.
What is pride? According to wikipedia, it is a double-edged sword. It is one’s sense of personal status, i.e. the sense of where you rank and a tool by which you judge yourself in relation to others. It is also a product of praise, a byproduct of a job well done. Personally, I have been struggling with the issue, and for some reason, I believe that this struggle is unique to design.
First, an admission. I am a proud person. My sense of self worth (not to be confused with pride but definitely informed by pride) has helped me weather many a storm, and I believe that pride is a component of my self worth, an ingredient that I would be foolish to deny. It has also compelled me to reach beyond myself, for if one is good at one thing, why can’t one excel at another? In design, I would argue that pride is essential. If you are not proud of your work, how can you confidently present it to a client? If you don’t take pride in the tradition of design, how can you learn from it and ultimately honor it? Unfortunately, there is another side to this coin.
By ascribing value to your work, you inevitably set a price of entry, and unless you know when to be humble, which is more difficult than it sounds, this price of entry can condemn your work. That is the root of my struggle. Because I am proud, I feel the need to defend my work. It is, after all, a reflection of my process, my thinking, and my intuition. Right!
Actually, I think that these assumptions might be wrong.
As a designer, I don’t exist to defend my work; I exist to advance my work. This complex equation requires a number of harmonious elements, but more than anything, it means that I have to let go and give myself over to the experiment. Pride impedes this process. Pride warrants a series of small battles that are bound to lose the war. Pride dictates that you dismiss the speculation of people who “have no business” commenting on what it means to design something great. Worse yet, pride often excludes those who you are ultimately meant to help, call them customers, clients, or partners.
This is the revelation that compelled the post. Pride, I’m afraid, is a process killer. Like a stop sign in the middle of a highway, pride can be used to halt the advancement of process. Because pride is a point, not a line. And, if you focus on the point, ascribing all value to it, it can stop the advancement of the line.
So, what can a proud person do? Here’s what I think. First, I think that I should be proud of the process, not the end product. The journey, not the destination, is the reward. Second, I should focus my pride on solving the client’s problem. This removes the focus from the end product (the point) and focuses me on solving for need (the line). Third, and perhaps most difficult, I should simply let go. Pride will become fence, and if I let it, it will hem me in, stunting my personal and professional growth.
All easier said than done, since pride has a way of lurking in the depths, only rearing its head when the sting of criticism seems too great. When this happens, I think that all designers should take a deep breadth, step back, and open themselves to the opportunity. At least, that’s what I’ll be working on in the future.
Watch Guillaume Nery, world champion freediver, as he descends into blackness. The movie was filmed by Julie Gautier, who for the sake of authenticity, held her breath too. Music by ARCHIVE. Via Design is Kinky.
Some beautifully looped beats for your Sunday morning coffee. Enjoy Luke Wyman’s White Vinyl.
I just returned from the Sustainable Brands conference in Monterey, where I heard Eric Park and Marc Mathieu deliver their presentation on the New American Dream. I worked with Marc on his presentation, and there is an inspiring conversation happening at the conference.
If the original American Dream was about life, liberty, and the pursuit of happiness, how and why did it evolve into a dream about stuff, and how do we get back to the original idealism that sparked a world movement?
If you have a free moment, offer your perspective by tagging your tweet with #sb10 and #sb10dream.
“The Milton Glaser Design Study Center and Archives, a division of the Visual Arts Foundation, is dedicated to preserving and making accessible design works of significant artistic, cultural, and historical value by preeminent designers, illustrators, and art directors who have close ties to the School of Visual Arts.”
This is a great resource for design students and designers. Via FFFFound.
“My paintings often start with a very busy layer of drawings. Most of those come straight from idea notebooks that I still keep for sculpture and installation work…so nothing is thrown away. If I can’t afford to execute an idea, I can at least include it in a painting so it can exist. For me there is an arc and if you start getting too skilled it’s always good to introduce another thing or medium so it’s interesting.”
Take a look at the interview with Josh Lerma on Fecal Face.
Good Magazine is featuring five projects from designer Paul Sahre. Sahre is one of those rare designers who uses metaphor with extraordinary effect, creating unique cerebral landscapes in which his work exists. Check it out.
David Byrne unleashed a unique genius in True Stories, and with other entries, like Stop Making Sense, he cemented himself as an incredible creative, transforming nerd rock into an unstoppable force. (Where would Weezer be without Byrne?)
Hillman Curtis, graphic designer turned digital filmmaker, recently finished a new documentary film with Byrne, called Ride, Rise, Roar. Can’t wait to see what they’ve cooked up.
Necessity is the mother of invention, and at the beginning of the holiday weekend, we were brimming with necessity. The previous version of Unstrung Studio was hacked and, for all intents and purposes, destroyed. So, we are proud to unveil an interim design, which uses the tanzaku theme by Triple Ships. The previous version of Unstrung Studio was running on an outdated version of WordPress, and post hack, everything has been updated. Looking forward to more design and easier authoring.
Special thanks to the folks at MINE for the theme inspiration.
Have you ever wondered about the story behind Blackletter? No? Well, this bold and ornate script was used for about 650 years throughout Western Europe, and in Germany, it was used well into the 20th century. No doubt, when Hegel published his thoughts on freedom, society, and religion, blackletter was used to convey those thoughts.
So, when Judith Schalansky developed a love of blackletter during school, she was disappointed by the paltry selection of typography and design books on the topic. Absence breeds discontent and Judith decided to create a book to fill the void. The beautiful result is Fraktur Mon Amour, an ode to Blackletter in all of its forms.
There is a wonderful review of the book on Typographica, if you need a second opinion before making your purchase.
I don’t watch Lost, the ABC cross-dimensional roller coaster. I do, however, love to look at well-designed posters, and Ty Mattson’s Lost posters recall the work of Saul Bass, who single-handedly redefined the Hollywood formula and created a new genre of movie design. Mattson brings his unique style to Lost, about which everyone in my office is always talking, and the results are nothing less than screen-printed beauties.
Do Ty a favor and supplement your looking with a little buying. His posters are available in the ABC store.
The Library of Congress has a huge, widely underused, and virtually unpublicized collection of historical documents and images. Although their web design comes directly from 1998, the images are truly incredible. Above, you’ll find scans from Alexander Graham Bell’s laboratory notebooks, and this is just the tip of the iceberg.