The Hideous Hermaphroditic Character

“A blind, bald, crippled, toothless man who is a hideous hermaphroditic character with neither the force and fitness of a man nor the gentleness and sensibility of a woman.” 

A relative on my mother’s side said this about another relation on my father’s side. Thomas Jefferson said this speaking about John Adams in the presidential campaign in 1800. During the election cycle of 2015–16, we’ve seen and heard things we never believed a presidential candidate would say. But, are any as shrewd as the toothless hermaphrodite quote?

As for scathing and blunt political statements, one only need turn to fact: magazine. During 1962, Herb Lubalin and Ralph Ginzburg collaborated on Eros magazine. It was groundbreaking design but lasted only four issues. In 1962, U.S. Attorney General Robert Kennedy indicted Ginzburg under federal obscenity laws.

In 1964, they collaborated again on fact:. This time, Ginzburg moved away from sex and focused on biting commentary about culture and politics. To retaliate against Kennedy, the cover of Issue Four is a simple typographic message, “Bobby Kennedy is the most evil _ _ _ _ in American politics today,”

I’ve long admired Lubalin’s use of Times Roman and Tom Carnase’s logo. Recently, I actually read an issue rather than simply examining the tight kerning and beautiful “f”. The September-October 1964 issue is a remarkable hate-fest about 1964 Republican presidential candidate, Barry Goldwater. This isn’t a thoughtful examination of Goldwater’s policies or proposals. This is closer to the “toothless hermaphrodite” variety of language.

The cover is, like most of the fact: covers, to the point and unapologetic. The issue has one article, “Goldwater: The Man and the Menace,” and a section dedicated to “What Psychiatrists Say About Goldwater.” The tenor of the article is aggressive and acrimonious with sentences such as, “Those psychoanalysts who find a connection between sadism and an anal character will not be surprised that young Goldwater was fascinated by bathrooms.” 

The design of the magazine relentlessly hammers Ginzburg’s text with plain and unadorned columns of text. The black and white color palette on uncoated stock, using Times Roman, is an undeniable reference to newspaper design. The communication goal is clear: this information is a fact and true.

The fascinating point here is the vast amount of acerbic text and imagery contained in only sixty-four pages. It is unremitting. Even the back cover is filled with derogatory quotes from psychiatrists.

Like Eros, this did not end well for Ginzburg or Goldwater. Goldwater lost the election (in one of the largest landslides in US history). He sued Ginzburg and won. Ginzburg didn’t help his case when he stated he intended to continue the same conduct in the future. He had undertaken a similar poll of psychiatrists with respect to President Johnson, in preparation for the 1968 campaign. He had reason to also doubt Mr. Johnson's sanity. 

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/ 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.

Erotic Abandon

This is frustrating: I suggest that a student have more fun and freedom on a project and they return the next week with the most itsy-bitsy slight change. I don't understand the timidness. It's as if they believe God will strike them dead if they use a quickly drawn gesture, or too much color, or an enormously scaled grainy image. So I get the tidy and polite vector art solutions or lovely but dead photographs. It really drives me to murder. I'm the opposite of the cranky professors who say, "Oh, that's gone too far." I beg them, "Please, please go so far that everyone in the room is shocked and aghast at your complete lack of restraint."

I'm not pushing students to go outside of their comfort level and work in broad strokes to be mean. I don't want them to spend their lives designing tasteful wine labels and polite brochures. I want them to be wonderful.

The example I use is Herb Lubalin and Ralph Ginzburg'sEros magazine. Eros was short lived, only four issues from 1968 to 1971. By today's standards it tame. You can find more explicit imagery by doing a google search for "cat". Lubalin uses the page like a giant canvas, not a small magazine. When he uses negative space, he does past the comfortable spot. When he handles headlines, he does bad things like smashing the copy together in a corner. The images are dramatic and play with radical scale and cropping. At the same time, the thing is refined to death.

Partners at a law firm usually make more than graphic designers. That's ok because they have to wear real life work clothes and we don't. And we can have fun. That's the trade-off. Why be miserable and uptight, and a graphic designer. You can do that as a financial analyst and make much more money.

Spread images via: