Gan Hosaya, 1969, ad

There are times when a project just looks bad, like dog crap. I slave over it endlessly, and then I realize all it needs is to be turned on its side or upside down. Voila, it works. That’s the issue when you don’t print anything out and only see it on a screen. Sure you can turn your screen upside down or turn it on its side, but that could result in dropping it. The easiest solution is to send a file to print and than flip that baby around in all directions. What was once banal and expected becomes avant-garde and unsettling.

I love work that is sideways or upside down. It gets away from the standard point of view that we have in everyday life which is straight on from about 5 or 6 feet tall. Miraculously, you can see a different view from above or below, or lying on the ground and seeing the world on its side. This is why God gave people bendable joints. Photography at the Bauhaus in the 1920s and 30s took advantage of this ad-nauseum. It was as if everyone there was climbing up the walls and hanging from the balconies. But the images are wonderful.

Posters and ads with moving vehicles are especially adaptable to this technique. Gan Hosaya‘s 1969 poster for Yamaha is one of my absolute favorite pieces of design ever produced. Think how dull it might have been if he simply let the image be turned 90 degrees. So the next time you’re out taking photos, climb up on a table and shoot everyone from above. You’ll be asked to leave, but end up with a snappy photo that isn’t the same head and shoulders of someone holding a drink.

Martin Munkasci, 1935

Diving at the Valley Baths, Brisbane, Queensland, 1938

Paul Rand, Apparel Arts cover

Herbert Matter, 1935

Carl Ally Agency, ad, 1960s

Carl Ally Agency, ad, 1960s

Max Huber, 1957

Max Huber, 1948

Joseph Binder, Graphis magazine, 1948

Laszlo Moholy-Nagy, 1926

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Matthew Liebowitz, promotion, 1947

People often ask me, “Sean, what’s the secret with this whole graphic design thing?” Of course, there is no secret. Or if there is, nobody told me. I can say, however, that a big rule for me is contrast. There is no such thing as too bright, or too much contrast in design. I’m not big on de-saturated colors and soft contrast. Design should be bold. There’s an old saying about teaching a donkey. First you smack it in the head with a two by four, and then give it the message. Now, clearly, I don’t advocate donkey cruelty. But, design is the same. First, get the audience’s attention. Then tell them the story.

Red, white, and black are good choices for contrast and bold statements. I’ve used this combination many times and quite enjoyed it. The danger is looking like a Nazi. The Nazis were rather keen on black and red, so you need to be careful to not appear to be a Facist. Using a little bit of red and a little bit of black isn’t the same thing. Remember: donkey, two-by-four, and big.

Alvin Lustig, book cover, 1940s

Gustav Klustis, poster, 1928

Henry Wolf, Esquire magazine cover, 1955

Henry Wolf, Magazine spread, 1960s

Herbert Matter, Arts and Architecture magazine cover, 1947

AdamsMorioka, Frederator postcard

John Massey, Orchestra Poster, 1960s

Karel Vaca, film poster, 1964

Lester Beall, promotion, 1938

Paul rand, Art Direction magazine cover, 1939

Paul Rand, department store ad, 1947

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Bauhaus newsletter, 1929

Somehow by attrition, I have become the “go to” designer when color is involved. This amazes me because my color theory is pretty simple: everything works with everything. Just don’t be wimpy. I love hateful combinations such as almond, maroon, and teal. I’d make every project avocado, burnt orange, butter yellow, baby blue, and magenta if I could. But, oddly, I love black and white. It’s the color combination used the least. Everyone assumes it’s ubiquitous, so everything is full of color. When was the last time you saw a stark black and white ad, billboard, or television commercial? Color is an evil temptress; we attempt restrain, but are lured with the promise of excitement. Be brave. Try black and white. This isn’t black and white with a splash of orange. No. No splash. You must deny any additional color.

AdamsMorioka

Beverige Byrd Seay

Michael Bierut

unknown

unknown

Michael Vanderbyl

Tibor Kalman

Josef Muller Brockmann

Josef Muller Brockmann

Saul Steinberg

Sister Corita Kent

unkown

Marget Larsen

Paul Rand

Lou Danziger

Herbert Matter

Alvin Lustig

Michael Bierut

Herb Lubalin

AdamsMorioka

Michael Vanderbyl

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