High Notes

In my taboret, I have two notes I will save in a fire. I have a quickly scribbled note from Tibor Kalman congratulating me on a project and a note from Tony Palladino, complimenting my first UCLA Extension poster back in 1998. The note from Tony was, for me, the equivalent of an Academy Award. At the time, I was getting slammed left and right by the groovy design set since I wasn't layering images on images, mangling type, or making purposely oblique messages. The UCLA poster was about my philosophy; keep it simple, pure, and playful. Tony’s note was an affirmation that I might be doing something right.

Tony Palladino’s work is inherently American. He was born in Manhattan in the 1930 and spent his youth in the vibrant and gritty world of New York during the depression. He may have adopted some of the principals of Bauhaus Modernism, but it is filtered through a layer of American high energy and spontaneity. Like jazz, Tony’s work is rigidly crafted, but bursting with an energy that does not play politely. His solutions are brave and unapologetic.

The SVA poster hand-drawn with markers is actually hand-drawn with actual markers. In the hands of a lesser talent, this would be a sketch, and the final poster would be a polite geometric set of vector art lines, dull and elegant.

The American identity is complex. It is a mix of Puritanism and extremes. It is pragmatic and didactic. And, it is about optimism. Tony’s humor is clear in all of his solutions. This levity, craft, vitality, and intelligence are a miraculous combination. Add in Tony’s poetic vision, and the results are rare and spectacular.

Sean Adams, UCLA Summer Sessions, 1998