Gateway Drug of Dessau

From Design Observer

I've heard the statement, "Modernism was a failed experiment," for thirty years. The expressive typography of the 1960s abandoned the tenets of simplicity and function. In the 1970s and 80s design shifted again to embrace historical references, illustrative imagery, and post-modern appropriation. Even the minimalism of the 2000s incorporated self-reference and irony. For these last thirty years, I felt like a character in Ray Bradbury's Fahrenheit 451 (1953), hiding my reverence for Bayer, Matter, and Moholy-Nagy. 

The typography and graphic design at the Bauhaus represent the most religious allegiance to Modernism. But, it is the photography at the Bauhaus that serves as a gateway drug. The imagery of happy art students is disarming and nostalgic now but revolutionized the way we see through the lens. Read More

 

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.

Hey Hey Crochet

People often ask me to explain how I choose colors on a project. "You're so good with color," they say, "What is your process?" My process is to liberally take color palettes from anywhere. Some call it stealing, I consider it appropriation.

I have a collection of crocheted hangars my grandmother made. I don't use them because I'm too OCD and all the hangars in the house must be the exact same white plastic or wood version. But I do love the crochet hangars. The colors are wonderful. So I made a color palette out of them. It's not high design. It's not a careful exploration of values and tones ala Johannes Itten. It's a palette from 1970s yarn.

I'm impressed at how many of these my grandmother, Oma, made. She was an avid crocheter and made many afghans, hats, and sweaters. I don't understand the afghans. Since they are made with big crochet holes, they don't really keep anyone warm. And as much as I admire Oma's fortitude and talent, I was never a big fan of receiving a crocheted sweater. They aren't really hip in the 6th grade.

It could have been worse, 1970s crocheted clothing is far worse than any bad gift you will ever receive. The next time you complain because Aunt Bess gave you hideous patterned sweater, be thankful it isn't a rust and mauve crochet caftan.