Tech Rap

When I put cable and wifi in at the house in Palm Springs, it came with a land line. I hate the land line telephone. I need to disconnect it at my house in LA. It rings endlessly and is never for me. I've taken to pretending to be disturbed and confused when answering, "Hello, is Mr or Mrs Adams at home?" and I yell, "Why do you keep calling me? Who are you? What is going on?" I do this in a very Sorry Wrong Number tone.

I'm glad we don't have video phones that were predicted in the 1970s. Face Time and Google Hangouts require special lighting and a vaseline filter over the computer's camera. 

I have a series of images I was planning to use on a project that died. The old tech, so big, chunky, and heavy. Rap sessions to discuss feelings around the tech, and ferns in the office. It sounds so relaxing.

Sean Adams

Sean Adams is the Chair of the undergraduate and graduate Graphic Design Program at ArtCenter, founder of Burning Settlers Cabin studio, and on-screen author for LinkedIn Learning/Lynda.com He is the only two term AIGA national president in AIGA’s 100 year history. In 2014, Adams was awarded the AIGA Medal, the highest honor in the profession. He is an AIGA Fellow, and Aspen Design Fellow. He has been recognized by every major competition and publication including; How, Print, Step, Communication Arts, Graphis, AIGA, The Type Directors Club, The British Art Director’s Club, and the Art Director’s Club. Adams has been exhibited often, including a solo exhibition at The San Francisco Museum of Modern Art.

Adams is an author of multiple magazine columns, and several best-selling books. He has been cited as one of the forty most important people shaping design internationally, and one of the top ten influential designers in the United States. Previously, Adams was a founding partner at AdamsMorioka, whose clients included The Academy of Motion Picture Arts and Sciences, Disney, Mohawk Fine Papers, The Metropolitan Opera, Los Angeles County Museum of Natural History, Richard Meier & Partners, Sundance, and the University of Southern California.

The Slippery Road

Isn't this an oxymoron?

I was looking through an old type specimen book today and found myself repeating, "Oh my God, what have you done?" There were awful mutilations of classics like Garamond and Bembo. They were fattened up as if being readied for a slaughter. I expected this. I wasn't shocked when I found wacky 1970s typefaces. And then I came across the terror. 

This is what happens when type is freed from the constraints of metal and allowed to take on all kinds of forms with photo-typesetting. It was bound to happen. Like most things in life, because someone can do it, they will. 

The 1960s counter-culture was a rejection of consumerism. It wasn't cool to buy stuff. So design evolved. Household appliances, cars, and polyester clothing now existed in "earth" colors: avocado, mustard, brown, ochre, and burnt orange. This way an anti-consumerist could purchase a giant Buick and feel ok. And to make sure that the consumer knew he or she was getting value, things got bigger. Ties became as wide as scarves, jeans had giant bell bottoms, and big hair was the style du jour. 

I'm assuming this is the reason for some of the type mutilation. If I could have a bold font, could it be bolder? Why shouldn't Helvetica have swashes? Aztec temples as letterforms? Why not? And could someone add even more curly items on a typeface? Although I will admit I'm warming to some of these, especially the numerals and ampersands. But I imagine that's the slippery road to hell.


Sean Adams

Sean Adams is the Chair of the undergraduate and graduate Graphic Design Program at ArtCenter, founder of Burning Settlers Cabin studio, and on-screen author for LinkedIn Learning/Lynda.com He is the only two term AIGA national president in AIGA’s 100 year history. In 2014, Adams was awarded the AIGA Medal, the highest honor in the profession. He is an AIGA Fellow, and Aspen Design Fellow. He has been recognized by every major competition and publication including; How, Print, Step, Communication Arts, Graphis, AIGA, The Type Directors Club, The British Art Director’s Club, and the Art Director’s Club. Adams has been exhibited often, including a solo exhibition at The San Francisco Museum of Modern Art.

Adams is an author of multiple magazine columns, and several best-selling books. He has been cited as one of the forty most important people shaping design internationally, and one of the top ten influential designers in the United States. Previously, Adams was a founding partner at AdamsMorioka, whose clients included The Academy of Motion Picture Arts and Sciences, Disney, Mohawk Fine Papers, The Metropolitan Opera, Los Angeles County Museum of Natural History, Richard Meier & Partners, Sundance, and the University of Southern California.

Empire of the Sun

I once was asked to think of an idea for a monument for the city of Los Angeles. The last thing I thought LA needed was a big metal something that would fall down in an earthquake. I suggested a television station that would run every episode of Chips continuously. It would be the Chips Channel. The idea was oddly rejected.

I don't know why, but I record Chips on my Tivo and watch it daily. I also watch The Donna Reed Show but that's just a weird Pleasantville thing. Yes, Chips has remarkably thin plots and everything is solved in the last 3 minutes, but there are car chases that end with explosions and cars on their side in every episode. That doesn't happen every day in real life here. To get a car on its side and blow up requires a ramp and explosives. There is something kind of great about it.

I love how horrible Los Angeles looks on Chips. If you don't live here, you probably are saying, "Doesn't it still?" But in the 1970s on Chips the smog was far worse, there were endless streets of odd stores and car washes, and really crappy cars blowing up. It looks so bleak and desolate filled with empty freeways and the blazing white sun.

The other surprising elements are the pants and hair. Everyone has pants that are way too tight. I remember having pants like that myself in high school. I was also desperate for groovy hair that parted in the middle, but mine was wavy, thick, parted on the side, and grew out like Sideshow Bob.

Shooting the Tube

There is a huge difference between a dull photograph of Yosemite Valley and an Ansel Adams photo. Adams didn't photograph Yosemite Valley, he shot the weather in the valley.

Left: Carleton Watkins, Right: Ansel Adams

In the same way, there is a lot of bad surfing photography. It's the same shot over and over, someone tube-riding shot from below. LeRoy Grannis' photos, however, are good, really good, surfing photos. They are not the same shot over and over. Beside the obvious issues of lighting, composition, color, and content, Grannis' images work because they are not photos of surfing. He photographs the people surfing. The images are about culture and community. They objectively depict the surf community in the 1960s and 70s. This separates the work from traditional sports photography. The action is the backdrop to the individuals in the frame.

They also work because everyone is super groovy, even the elderly spectators with bitchin' sunglasses.