Archive for the ‘Instructions’ Category

Holistic Spirit and Vision Quest

Thursday, March 26th, 2015
Foundations of Branding, Lynda.com

Foundations of Branding, Lynda.com

A few months ago, I began work on a new course for Lynda.com, Foundations of Branding. Okay, I admit, I wanted to call it something more unique such as Foundations of Holistic Spirit and Vision, but Branding was more understandable. I did this course because I’ve heard too many designers struggling and working with a client on one project, then never again. It takes three times as much time and money to engage a new client than working with an existing one. When we are incorporated into the bigger picture and broader vision of a company, we can collaborate with a longer relationship. It’s better for both sides.

It’s fun to create examples like a standards manual for a fake college, in this case Medfield. But, working on these courses is hard. If I were a writer I could bang them out, but they take me forever. I obsess over the image assets, “Is that chart clear enough, does it help the viewer understand?” The biggest hurdle was worrying about what others might think. I know someone out there is saying, “Oh that moron, that’s not how you handle determining audiences.” I had to let that fear go, and just do my best. The two sides of the coin are: being criticized by someone cranky, or helping a designer do better and expand his or her role. My choice is pretty obvious.

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The Oldest Living Rubylith User

Thursday, February 19th, 2015
Old school Photoshop

Old school Photoshop

Several weeks ago, I was asked to do a short segment for the 25th Anniversary of Photoshop. It sounded fun until I was told I would need to demonstrate some of the tools used before Photoshop. First, this was an honor and scary at the same time. It was wonderful to be asked, but was I the last living designer who remembers what a rubylith was? And then the thought of showing how we used these tools after 25 years was challenging. But, what the heck? If I got any of it wrong, I was the last one alive to know.

During the shoot, I realized that the rapidographs weren’t working and I didn’t have a true square edge to the drafting table. I hoped that nobody would notice this. But I was surprised how quickly I recalled the process. I didn’t have time to mix the rubber cement to the right consistency, or cut the ruby exactly (you’ll know what that means if you are old). I liked how meditative the process was. It was slow and careful, a true craft. My hands even got dirty with ink and rubber cement boogers.

When I was finished with my demonstration, I kind of missed the old days of typesetting, the waxing machine, and the quiet concentration of making a mechanical. I recall going to AIGA events in New York in my early 20s. I would see Massimo Vignelli who was always kind and oddly remembered my name. He was flawless in his Massimo simple black and white clothes. Or Ken Carbone, who was also dressed in the most relentlessly crisp white shirts. I had my khakis, pink oxfords, and repp ties with bits of rubber cement, glue, and pieces of tape. I could never understand how everyone else stayed so clean. That was the true secret of life before Photoshop.

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The Meaning of a Second

Tuesday, February 10th, 2015
1966

1966

Like most of you, I have a closet of plastic shoeboxes filled with printed photos. Last week began scanning many of them. One of them is the image above of my grandmother, mother, aunt, and me sitting on the steps with dappled light. It’s not particularly well composed, but it feels like summer. It reminded me of the scene in Blade Runner, when Harrison Ford looks through his own family photos. For a second, the light dappling on the subject of the photo he holds begins to move.

That scene has its roots in Chris Marker’s La Jettée. La Jetée is the story later remade into 12 Monkeys. It was created with only still images, no motion. But there is one moment in the film when, for a brief second, one of the characters opens her eyes. Then the film continues with the series of still images.

A similar concept is used in Michelangelo Antonioni’s Blow-Up. A series of black and white photographs display the sequence of events of a murder. There is no motion, but the sound of the trees is added to strengthen the narrative. The effect in all of these is an increased sense of connection for the viewer.

I may be simple, but it’s those quiet moves that I like in a film. I’m okay with blowing up spaceships too, but I think Guardians of the Galaxy would have been improved with a sequence of still images and the sound of trees.


sequence begins at 1:00


Blade Runner


Blow Up, sequence begins at 1:15

Nothing

Wednesday, August 27th, 2014
Richard Danne

Richard Danne

I’ll keep this simple. I like work that doesn’t try too hard. It’s so easy to work on a project until I’ve beaten every last bit of life from it. It’s good to know when to stop. And the work I like best looks like the designer did one thing like set the type in Akzidenz Grotesk and then said, “Yeah, I’m done.” Perfect.

Young designers tell me all the time, “Are you sure, it seems empty.” But the idea makes it full, and in fact it’s not empty, it’s filled with a ton of negative space. I think of it like dark energy and dark matter. It’s strong enough to hold everything together. I deeply covet Richard Danne’s desk calendar from 1974. I think there’s that place in hell that I’ve mentioned before (the one where amateur musicians pull a guitar out at a party) for people who steal. But, I’d steal it.

All of these projects are confident and clear. They resonate with harmony because every tiny detail has been refined, refined, and refined. So try this on your next project. Do one thing and stop. It’ll be hard and the evil workings of layers in Photoshop or Illustrator will be calling, “Add more, add more.” Resist.

Richard Danne

Richard Danne

Paul Rand business card

Paul Rand business card

Please note the call room number

Please note the call room number

Ray Eames

Ray Eames

Reid Miles

Reid Miles

Brownjohn, Chermayeff and Geismar

Brownjohn, Chermayeff and Geismar

A.G. Franzoni

A.G. Franzoni

Fridolin Müller

Fridolin Müller

John Massey

John Massey

George Tscherny

George Tscherny

George Tscherny

George Tscherny

Paul Rand

Paul Rand

Louis Danziger

Louis Danziger

Carson/Roberts

Carson/Roberts

Richard Danne

Richard Danne

Refined Manners

Thursday, July 24th, 2014
London Guide, Herb Lester Associates, Anna Hurley, 2013

London Guide, Herb Lester Associates, Anna Hurley, 2013

Here’s one of the differences between being a surgeon and a designer: surgeons are required to be meticulous and have an OCD level to details. If they are, in most probability, people live and have healthy outcomes. Designers are required to be meticulous and have an OCD level to details also. If we are, nobody except another OCD designer notices. The upside is that bad word-spacing doesn’t kill people.

I can spend hours kerning the crap out of a headline. Does anyone apart from me care, or notice? Probably not. We zoom in to a gazillion percent to make sure a point is absolutely precise, obsess over the difference between Adobe Bodoni and Monotype Bodoni. But of we didn’t, we’d be slobs and hack designers, and it wouldn’t be as much fun.

Herb Lester Associates produces a wonderful collection of guides to different cities. Let’s face it, most city guides look like the Map to the Stars Homes. The Herb Lester guides are not only pertinent to travelers who prefer something more interesting than mobbed, but are detailed to death. Every tiny piece of type has been considered. The illustrations are wonderful and change from map to map. I know the designers were working on a the files at 400%, and it shows. Even the packing tape on the envelope is a work of art (which I plan to steal).

In this instance, I noticed. Every thoughtful and beautifully crafted detail adds to the overall extraordinariness of the guides. The lesson here, go ahead and fine tune the shit out of the details. If only one person in the world sees it, you’ve succeeded.

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