Big

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When faced with a composition that is not working, or an idea that is not communicating, I typically make the parts giant or tiny. Design that is polite, medium, and “meh,” is just plain dull. Remarkable large scale environmental graphics (supergraphics) are a testament to the power of big. To promote these concepts, I wrote a book that celebrates environmental graphics that change culture, affect behavior, and improve pedestrian experience. 

 

There are clear masterpieces of supergraphics such as Lance Wyman’s Mexico City Olympics(1968), Deborah Sussman’s Los Angeles Olympics (1984), Barbara Stauffacher-Solomon’s Sea Ranch (1965). I wanted to find the best examples of the next generation of designers and artists in the field. The end product is The Field Guide to Supergraphics: Big Graphics in the Urban Landscape. The best part of writing a book is learning about a new approach, or discovering incredible designers. This book did both. And for those concerned about the size, it’s much thicker than I expected. It has 384 pages. 

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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.

Rough and Ready

The concept behind wabi-sabi is to find beauty in transience and imperfection. I love this concept although I have difficulty following it. When I find myself scrubbing the top of the flat files with Comet and a rough brush, or using an x-acto knife to clean crevices in a lamp, I know I am in trouble. I'd like to let the imperfections on the lamp to be just fine.

I once scrubbed all the enamel off my grandparents' kitchen sink because it still had little off white spots. That was when my family should have called for an intervention: "Sean, I love you, but you are ruining your life and ours by this incessant scrubbing of sinks," or, "I refuse to acknowledge you or support this awful habit until you stop and put the canned air and Windex down. You are sick and need help."

The point here, is that I love the nubby and organic. But I can't seem to let it be just that. Stan Bitters' work is elegant and warm, pointing to a natural world of texture and smell. The ceramic work isn't hyper glossy or smooth as a baby's bottom, and I like that. The colors are rich and unexpected. The evidence of a human hand is exposed on each creation. Perhaps I need to get some clay, a kiln, and some glazes and lock myself in a room until I can live with the bump on the rim of a vase.