Unsinkable Brown

Recently, a client asked for brown as a color option on a project. A couple of years ago, I would have resisted. But, brown has slowly been creeping into my mind. First, I found myself admiring the brown tile at the Honolulu Airport. Then, I decided I should move away from my earthquake safe Melmac dinnerware. So, I bought several settings of Heath Ceramics dinnerware.

The Heath colors are subtle, subtle and subtle. Seeing one brown combined with cream or tan plate convinced me that brown could be alright. Some of my favorite design solutions are brown. Does this mean I'm mellowing, or developing, God forbid, good taste? I still resist any attempt to put brown in bathrooms. Brown wall, tiles, fixtures, or accessories should never be used there. I won't go into details, but how do you know if someone previously had an "episode" in the bathroom if everything isn't bright white?

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.

Treasures from the Great Northern Place

When Graphis did a story on us soon after we started the firm, we said, “We’re interested in making a good cake, not just nice icing.” Since we were both 29 years old and too cocky we thought this was incredibly clever. A few years later at a conference, a designer came up to me and said, “Yeah, I saw that article in Graphis. Everyone at my firm hates you. And you stole that quote from Burton Kramer.” Back then, I was still under the impression that I should remain polite and try to understand what was really driving this criticism. Now I would I simply say “Go to hell you mother@#$%ing mother@#$%er @#$%face.

 

In reality, Burton Kramer had said this in 1972. But, in my defense, I didn’t know this. I love Kramer’s work. Today, we get mired in post-modern analysis of irony, pastiche, and contradiction. Kramer’s solutions are so crystal clear and cutting. They are rational, perfect, simple, and elegant. But they are never cold, or without a sense of the human touch. The Canadian Broadcasting Company logo is complex and precise, but is optimistic and about infinite possibilities. Kramer’s identity programs are sublime. They are a testament to a time when designers had the time and skill to fine tune every tiny detail, as opposed to some of the slapdash icons created from a batch of Illustrator shapes. When I look through Kramer’s new book, I find the most difficult issues is to not inadvertently steal more of his wisdom.