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 Acting Chair of the Graphic Design Graduate Program at ArtCenter, founder of Burning Settlers Cabin studio, and on-screen author for lynda.com/Linked In. 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.

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?

 

 

 

 

 

 

 

 

 

 

Jealousy and Desire in Book Form

If you are a designer, you’ve had the experience of discovering that the same person or firm designed several of your favorite items. It’s like playing favorites without realizing it. This happens to me repeatedly with work from Volume. I pick up a book at the bookstore, admire it, turn to the colophon and yep, it's a Volume design. Now I could be angry, jealous, and spiteful, which I usually am. But, in this instance, the best recourse is to recognize the great work. I've known Eric Heiman and Adam Brodsley for two decades (yes, we’re all that old). If they were a-holes, then I could simply ignore them. They’re not, unfortunately. They teach at CCA, devote time and energy to AIGA, and are magnanimous genuine people. Damn them.

Several of my favorite books are Volume designed. They have an innate sense of when to stop. The books are true to the subject, never rely on typographic circus tricks, and are remarkably crafted. They present the content in a way that is clear and objective, but never dull or sterile. The commonality is a sense of warmth, value, and cinema. Pacing is the trick with publications. A good publication should be paced like a film: quite moments, crescendo, intimate sequences, and a defined plot. The Volume work does that and injects long shots, details, and close ups. This isn't easy.

There are two emotions that I do my best to avoid, pride and jealousy. Any decision I have ever made based on pride has been a bad one. So what if someone thinks I’m a dingbat? It doesn't cost me anything and investing resources to combat this is often pointless (I’m not talking about Noreen here. I accept her judgment of my dingbat attributes). Jealousy is a hard one to avoid. I’m human; I ask myself, “How come Volume has such great projects? How is it fair that they get to design a magnificent book on Cliff May, but I don’t? I bet they get free Heath ceramics.” But this takes so much effort, and it is so much easier to enjoy their amazing design and relax.

images courtesy Volume, Inc.