Archive for January, 2012

Living Large

Friday, January 13th, 2012

Gibson greeting card, 1970s

I often worry that I live a small life. When I read about a great, great uncle who was a United States Majority leader and Speaker of the House, or distant grandfather who was a US President, or even the odd balls who went mad in Paris in the Gilded Age, I think, “Should I be doing more?” This goes to the heart of the neurosis currently affecting designers. “How can I worry about kerning when there is climate change?” My answer is, “The people equipped to deal with complex climatological issues are far better dealing with this than you. But they probably have atrocious word spacing.” Every grain of rice tips the scale a little more.

This morning, I managed to assuage my insecurity about the smallness of my contribution. Then, I was faced head-on with that issue in force. I needed a varnish sample to show a client. We have a bin of “Favorite Things” that is a storage space for anything someone likes. As I dug through the bin, I continued to find wonderful items. “Oh, look at this. It’s a potato gun package,” I said as the designers politely nodded and tried to ignore me. This begs the question, is my little collection of odd items as important as serving as the United States Ambassador to France at the beginning of World War II? I say yes.

Ginza Dai-Ichi Hotel luggage tag, 1968

Potato Gun packaging

Wonder Body Exerciser manual, 1974

Gibson greeting card, 1970s

New York World's Fair Guide, 1964

New York World's Fair card, 1964

Technicolor negative envelope, 1970s

Restaurant Punjab, Paris, card, 1994

The Graduate

Wednesday, January 11th, 2012

Jiin Kim, 2011

Quite often, I receive notes from designers looking for freelancers or designers to hire. Since my mind is a sieve, I only recall the last person I saw. Typically, I send an email to Petrula Vrontikis and Nik Hafermaas and ask for any Art Center grads who are out there. Now here is the problem: I’m sure they are tired of my relentless harassment. I don’t know who has been hired, and who is looking. I don’t have anyone’s email address after they graduate. The solution is to create an interactive job bank for Art Center alumnus. But, I don’t want to be the person watching the doors to check the quality of employers, or graduates. And I have a full time job, so that’s not going to happen.

As a simpler approach, I’m using this post as a center for a list of recent graduates and their websites. If you are looking for a designer, feel free to peruse the amazing work on each website. If you are a recent grad and are contacted, I’ll let you be the judge about the person contacting you. A good tip: if you are asked to remove your shirt and send in bare chested photos, don’t. This is typically not required for design interviews.

Jim Bogenrief, 2011

Yerina Cha, 2011

Tracy Hung, 2011

Steve Ligatsa, 2011

Nico Sala, 2011

Jesse Merrell, 2011

Christina Nizar, 2011

Alexia Pellegrini, 2011

Eugene Seo, 2011

Adam Hale
Alexia Pellegrini
Andrea Lee
Paul Kim
Caroline Kim
Christina Nizar
Dominique Wu
Douglas Chang
Eugene Art Seo
Guea-Yea Lian
Gyum Heo
Jaime Lopez
James Bogenrief
Jeff Han
Jesse Merrell
Jiin Kim
Jinhee Jung
Jeong Youn Choi
Nico Sala
Randi Cheung
Sora Park
Steven Ligatsa
Tracy Hung
Winnie Yuen
Yerina Cha
Also the grad show (showing faces with names) can be seen at:
http://www.35k.com/ACCD1211/

Pictorial Souvenir Discourse Analysis

Friday, January 6th, 2012

Disneyland, A Pictorial Souvenir, 1976

It’s amazing to me when I meet another Los Angeleno who has never been to Disneyland. Are the communists? Did they grow up with abusive and cruel parents who built a Carrie closet? Do they hate the idea of fun? Of course, they typically tell me “It’s not my kind of thing.” Or, “I don’t understand the attraction of contemporary mass market spectacle.” Boring, boring people.

When I was a kid, I had a copy of “Disneyland, a pictorial souvenir”. I know every detail of every image. The images paint such a nice story of a lazy day with family, rock and roll fun with teens, and exciting (but not overly exciting) adventures. When I looked through this recently, I began to decode the images. Yes, OCD, yes geeky, yes, too much emphasis on deconstruction in art school. I found several running themes.

1. Old people and People with hats.

Hats signify an exciting time. There are many matching hats on old people and kids. Old people let us know that Disneyland can be enjoyed by everyone. I know this is true. I’ve been there with my grandparents. Although they preferred that we visit each land in a counter-clockwise direction and never jump between sides of the park.

“I’m cranky, and old-fashioned, but nice to my odd grandson and will wear a funny hat.”

“I’m just like my grandfather, and we love the same things. Hats."

"I'm Nikita Khrushchev and old, but we still enjoy Dumbo.”

“I’m a foreign sailor, and I like to go on dates with American girls."

“My grandmother has some wacky hat fashion sense, but she bought us these hats.”

2. Nuns

There are nuns all over the place in the Disneyland visual landscape. They show up on preliminary sketches, and in souvenir books. I don’t think there is any hidden religious subtext. This has more to do with the supposed cruelty of nuns who slam rulers on Catholic school children. Nuns are not thought of as carefree, anything goes, kinds of women.

“We’re nuns and we’re hardcore. But even we love Mr. Toad's Wild Ride.”

 

3. Blurry motion

These say “speed.” Disneyland can be a crazed, fast paced, and thrilling place. Everything is fast: a hip dance scene in Tomorrowland, Rocket Jets, America the Beautiful Circlevision, the Peoplemover, and the Mad Tea Party Teacups. The Teacups are, and Rocket Jets (now the Astro Orbitor) were, indeed, too fast for me. All that spinning. But the Peoplemover and Circlevision were fairly slow paced. This was good. The Peoplemover had a hard fiberglass interior. I would not want to be in a Peoplemover whipping around the bend that fast, slammed against the hard seat, or in a Circlevision theater with guests throwing up.

"Stop fidgeting, I am not trying to throw you out"

"For the love of God, slow this thing down."

Scary

Nobody drives this fast in D.C., except a Mission Impossible scene

 

4. Leg details

From a child’s point of view this must be what Disneyland looks like. These tell us that cast members are cleaning, the costume characters will interact with children, and there are horses. We also don’t need to involve ourselves with details such as individual people.

"No we don't work here."

 

5. Lingering

Many images show people meandering and lingering. They stare into a shop window on Main Street (why, I don’t know. The door is two feet away). Others look at unique items in the One of a Kind Shop, or watch the The Royal Street Bachelors in New Orleans Square. This tells us that there is time to relax, saunter, and discover stuff to buy. Unlike most of the stores I visit, here I can and linger and not be asked to leave. The downside of these images is the message that it’s okay to walk really slowly down Main Street, 8 abreast. It’s not. Some of us need lunch.

See, again, a boy with freaky feather hat. This is a Fascinator in England.

"I don't think I've ever seen anything as interesting as these, um, huge pepper mills."

"Oh my Fred, so exciting. Stand away and don't think about touching my wig!"


6. Darkness

Whether it’s real night outside, or simulated night in the Blue Bayou, these images are indicators that Disneyland is not just for kids. You can have dinner with your middle-aged friends or neighbors. You can take your spouse on a special dinner date while the kids hang out in Fantasyland. Or you can throw caution to the wind and get groovy with the young adults.

What is it with people who used to have coffee with dinner?

I believe the women on the left is the wig woman. These people are square.

If you're Tricia Nixon, this is your wicked sick scene

Soda Pop

Tuesday, January 3rd, 2012

Pepsi Cola World, Chermayeff and Geismar, February 1962

There is a fine line in design between clever and trite. Often, I’ll see a solution that is trying too hard, forcing itself on the viewer and screaming, “I’m clever!, I’m clever, dammit!” The projects that succeed are the solutions that appear effortless, even obvious. Obvious is hard. It’s easy to think something won’t work because it’s so obvious everyone would have the same solution. But, that’s just it. Everyone thinks that, so nobody does the obvious. The best example that is clever, effortless, and once seen, seems completely obvious is the work Ivan Chermayeff and Tom Geismar did for Pepsi-Cola World. It’s light, playful, never forced, and beautifully articulated.

The solutions, often a fused image, provide the viewer with the pleasure of solving a problem. The payoff is delight. I don’t mean delight as in “That tea set is just delightful.” Delight is hard to make. And it’s a feeling that makes life worth living.

images courtesy of the Lou Danziger Collection and AIGA Design Archives

Pepsi Cola World, Chermayeff and Geismar, November 1961

Pepsi Cola World, Chermayeff and Geismar, June 1958

Pepsi Cola World, Chermayeff and Geismar, February 1960

Pepsi Cola World, Chermayeff and Geismar, Summer 1959

Pepsi Cola World, Chermayeff and Geismar, September 1964

Pepsi Cola World, Chermayeff and Geismar, March 1961

Pepsi Cola World, Chermayeff and Geismar, December 1961

Pepsi Cola World, Chermayeff and Geismar, April 1965

Pepsi Cola World, Chermayeff and Geismar, March 1959

Pepsi Cola World, Chermayeff and Geismar, December 1959

Pepsi Cola World, Chermayeff and Geismar, November 1958

Pepsi Cola World, Chermayeff and Geismar, October 1958

Pepsi Cola World, Chermayeff and Geismar, November 1959

Pepsi Cola World, Chermayeff and Geismar, Summer 1958

Pepsi Cola World, Chermayeff and Geismar, May 1958

Death Takes a Holiday

Sunday, January 1st, 2012

Death's Door Vodka, Grip Design

I’m not too keen on New Year’s resolutions. It seems to me that if something is worth doing, or not doing, why put it off. As I tell the crew at AdamsMorioka, “We show God how pleased we are with him by not procrastinating in our tasks.” They love me for my helpful advice.

If I had to make a New Year’s resolution it would be to drink less. It’s not that I go home and tear through a bottle of cheap gin, waking up in a pool of vomit. My grandparents always had a cocktail before dinner, so it makes sense. But, perhaps, switching from the martini glasses to the giant Melmac mug was a mistake. My plan, however, was waylaid by the beautiful gift of Death’s Door Vodka. Francesca, who makes my daily life run properly at the office, gave it to me for Christmas. She knows me very well. I like good typography, and I like drinking.

I try to veer away from promoting current designers and work here. Since I started writing articles and books over a decade ago, I found that doing an article on one designer pisses off the other 300,000 designers. So I stick with the dead, or well loved. But in this case, I can’t resist. Grip Design in Chicago designed the packaging. I love that it’s unique and beautifully crafted, but it doesn’t slip into gimmick alcohol packaging. The name, Death’s Door, is the tour de force. Items such as alcohol, automobiles, skateboards, and space heaters should allude to the fact that they may kill you. I don’t want to buy a Feature Comfort Space Heater, I want the Exterminating Angel of Fire Heater.

Death's Door Vodka, Grip Design

Death's Door Vodka, Grip Design