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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Tadanori Yokoo, Henry Miller

I’ll admit it; I’m contradictory. I’ve learned this is a good thing to say. I can get away with so many things. When I change my mind, I can say, “I know I said I like yellow, but now I want brown. I’m contradictory,” or, “I gave that Boardwalk Empire show a chance, today I decided it’s boring.” At a lecture a couple of weeks ago someone pointed out that although I talk about clarity and a modernist approach, some of our work had ornamentation. My response, “Well I’m contradictory.” See how well it works.

Consequently, I love Tadanori Yokoo’s work. Theoretically, it should be too complex, layered, and decorative, and I should only like John Massey. But, Yokoo endlessly inspires me. His work is related to psychadelia and the Fillmore tradition in spirit, but also has a unique approach to space. Like traditional Japanese prints, distance is visualized by the placement on the page, not a western 3-dimensional perspective. His work takes traditional elements and combines them with western iconography and popular culture. He doesn’t carefully and harmoniously combine these; they seem slammed together with remarkable energy. Don’t get me wrong, though, I also love John Massey. Why? Yes, you know.

Tadanori Yokoo, 1965

Tadanori Yokoo, 1965

Tadanori Yokoo, 1965

Tadanori Yokoo, 1967

Tadanori Yokoo, A Ballad Dedicated to the Small Finger Cutting Ceremony

Tadanori Yokoo, 1965

Tadanori Yokoo, 1968

John Massey, 1968

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