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.

Avast Ye Matey

  The Klamath opening poster, Landor and Associates

Our office at AdamsMorioka is in the Flynt Building in Beverly Hills. It used to be the Great Western Bank Building and has a giant statue of John Wayne out front. Don't worry, there is no porn being filmed in the building, unless it's happening after hours in our office and I don't know about it. The building was designed by William Pereira and Associates in 1972. It is an oval shape and has beautiful details of late modernism. When we tell a guest how to get to the restroom or other directions, we use the terms "bow" and "stern". That's the curved front or back of the building.

Landor and Associates in San Francisco, however, had a real boat. When they talked about the bow and stern, they meant it. The Klamath was the company's headquarters from the 1960s -1980s. This was a radical departure for a firm. Most design agencies don't work on boats, especially a company engaged in high end corporate work. But it became a symbol for Landor's creativity and separated them from the traditional and stodgy firms in New York.

We've been considering a move recently. Right now we're on the port side of the building in the middle. We would like to be on a real boat. Barring that option, we may find ourselves on the bow or stern of our landlocked ship at the corner of La Cienega and Wilshire. If that happens, I intend to redesign the office in a nautical theme with anchors, nautical flags, oil paintings of clipper ships, and desks that look like old ship flooring. We'll serve grog to guests rather than water or soda.


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Left of Center


Many of you have written me and asked, "Sean, WTF? What happened to Burning Settlers Cabin?" The simple answer is that I have four jobs: AdamsMorioka, Art Center, AIGA, and Lynda.com. As you know, I was also in Berlin for three months for the Art Center TestLab. And, of course, I have a very busy routine hanging out at the country club drinking martinis, tennis lessons, and playing golf every afternoon. But now, I'm getting a handle on it all and back to bring optimism back to the world.

In between my freshman and sophomore year at college, I was asked to interview at Landor and Associates for an internship. The interview was remarkably humiliating. The first comment being, "Uh, you might want to consider cleaning up the rubber cement on your projects, and using something other than a chainsaw to trim them." The downside was no internship. The upside was a great lesson that my sloppy, messy CalArts portfolio wouldn't fly in the actual professional world.

In my head, I imagined all the work in San Francisco to be like the remarkable packaging Marget Larsen did there. Her projects for Joseph Magnin were light and playful and people coveted them. They have a tinge of counter-culture, Victorian eclecticism, and clear Modernism. Most importantly, they were fun. They didn't look constipated, uptight, and angry. It was clear that the designer enjoyed making them. Today, when every project is run through ten committees and budget is the highest concern, it is hard to imagine anyone giving the green-light to a box that turns into a Thonet chair or multi-colored set of game boxes. Larsen's work is ground-breaking and was widely imitated. She had the misfortune of working at a time when few women in the profession were recognized on a coast where only "far-out and wacky" work was produced.

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