I have a friend, a well-known designer, who laments that he never gets to do work that is “fun”. His work is serious and beautifully crafted with a deep connection to French structuralism and Freudian theory. I, on the other hand, lament that my work will only be seen as “fun”, not “serious”. Of course the reality is that nothing is that black and white. His work has light and playful elements, mine can be conceptual and multi-layered.
Herbert Leupin (1916–1999) (yes, another Herbert; it was a popular designer name) was disregarded and ignored as an “advertising poster artist”. How could the work be taken seriously when it has a giraffe? Today, his posters are sought after by serious collectors. At first glance, they are funny and light. They exist to sell beer, Coca-Cola, cigarettes, and pens. He wasn’t concerned about the theoretical underpinnings. And they are masterful and joyful.
He does what I endeavour to teach: see things in the world that can be seen entirely differently with the slightest move: a shoe becomes a car, a glass of beer enjoys a day at the beach, letterforms become carbonated bubbles. The imagery is light and carefree. And, as Shakespearean stage actor Edmund Kean said, “dying is easy, comedy is hard.”