This is frustrating: I suggest that a student have more fun and freedom on a project and they return the next week with the most itsy-bitsy slight change. I don’t understand the timidness. It’s as if they believe God will strike them dead if they use a quickly drawn gesture, or too much color, or an enormously scaled grainy image. So I get the tidy and polite vector art solutions or lovely but dead photographs. It really drives me to murder. I’m the opposite of the cranky professors who say, “Oh, that’s gone too far.” I beg them, “Please, please go so far that everyone in the room is shocked and aghast at your complete lack of restraint.”
I’m not pushing students to go outside of their comfort level and work in broad strokes to be mean. I don’t want them to spend their lives designing tasteful wine labels and polite brochures. I want them to be wonderful.
The example I use is Herb Lubalin and Ralph Ginzburg’s Eros magazine. Eros was short lived, only four issues from 1968 to 1971. By today’s standards it tame. You can find more explicit imagery by doing a google search for “cat”. Lubalin uses the page like a giant canvas, not a small magazine. When he uses negative space, he does past the comfortable spot. When he handles headlines, he does bad things like smashing the copy together in a corner. The images are dramatic and play with radical scale and cropping. At the same time, the thing is refined to death.
Partners at a law firm usually make more than graphic designers. That’s ok because they have to wear real life work clothes and we don’t. And we can have fun. That’s the trade-off. Why be miserable and uptight, and a graphic designer. You can do that as a financial analyst and make much more money.
Spread images via: http://westread.blogspot.fr/