Moonwalker

MJ (1958–2009)

26 June 2009 — Unpublished

Remarks from the New Museum, 13 June 2009

TDK Cassette Liner Packaging

Above: 1970s TDK cassette tray packaging. Cited as influential by Graphic Thought Facility’s Andy Stevens in an interview with the Design Museum, London.

This Saturday I took part in a panel discussion at the New Museum along with Marco Roth, Astra Taylor, and the panel’s organizer, Brian Sholis. We were asked to give a short lecture at the start of the discussion to outline some of our views on “generational coherence, generational self-consciousness, peer networks,” and other themes related to the museum’s Generational show. While I don’t usually script my talks, preferring instead to discuss images casually as I display them, I decided that this panel was a good opportunity to set images aside for a moment and get my thoughts together on this subject. My remarks follow below, and I hope they’ll be of interest. —RG

Most graphic design is easy to make, quick to produce, and not expected to last that long. If it lasts awhile, great, but it makes no claim to permanence. About the most permanent thing a designer can make is a book, and those often get reeditioned or go out of print. So graphic design’s relationship to duration is different than that of a painting or a building. I’m working on several projects right now that involve redesigning things that were just designed or redesigned in the last five years. Magazines come out and are thrown away, posters are put up and torn down, websites are built to change everyday. A new CEO takes over and wants to put a new stamp on something, so the logo’s changed once again.

In fact, the duration of most graphic design is closer to that of a song. I’ve heard that for awhile Stevie Wonder wrote a song every day. He’s a lot like a designer in that regard. It’s practiced creativity. And, after a few months, he selected a dozen songs or so to release as an album. That’s his portfolio, an edit of songs for the world to share.

There has been a lot of thinking done about design and art. Today, I’d like to do a bit of thinking about contemporary graphic design and music. In terms of our conversation here, music is a useful tool for talking about generations because it’s so defining for generations. I think design is defining, too. We identify ourselves with the songs we listen to but also the brands we buy, the organizations we support, the websites we contribute to, and the media we collect.

15 June 2009 — Lectures

Typographic Research 2009

Here are a few more projects from this year’s Typographic Research class that I think are worth a look. — RG

Helvetica Modified

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rutherford-1

Above: Both Debbie Buchan (top) and Katie Rutherford (bottom) attempted to add contrast to the Helvetica in their responses. Debbie’s alterations reminded her of Art Deco faces. Her A–Z set of postcards combines security envelope patterns with the shapes of the letters themselves. Katie took a more analytical approach.

Modular Installation

hangers-1

light-1

light-2

Above, top to bottom: Rohini Rathi explored the many moods of the common clothes hanger. James Dunphy and Yoshi Hozumi created a flashlight with modular pieces in order to easily fulfill the 3×3 ft size requirement. Their material was light. They recorded their alphabet through a ring-bound collection of cyanotypes.

02 June 2009 — Education

Re/Responsive Eye

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dunphy-2

dunphy-3

albers-1

buttons-1

Above, top to bottom: James Dunphy’s exhibition graphics were designed to be assembled within the viewer’s eye with optical effects like foreshortening and reflection. Katie Richanbach’s campaign was inspired by the color interaction studies of Joseph Albers. Alison Munn’s buttons and posters use optical after-images to reveal branding only after the viewer has passed it by.

Wikipedia reports the following:

In 1965, an exhibition called The Responsive Eye, created by William C. Seitz was held at the Museum of Modern Art in New York City. The works shown were wide ranging, encompassing the minimalism of Frank Stella, the smooth plasticity of Alexander Liberman, the collaborative efforts of the Anonima group, alongside the masters of the movement: Victor Vasarely, Bridget Riley and the Italian Getulio Alviani. The exhibition focused on the perceptual aspects of art, which result both from the illusion of movement and the interaction of color relationships. The exhibition was enormously popular with the general public, though less so with the critics.

Suppose in honor of the show’s 45th anniversary, MoMA is bringing many of the original works back to the museum and placing them alongside contemporary examples from the worlds of art and design.

On the blog this week, propose several works you think the curators should consider as they make their final selections. In the meantime, design 3 or 4 headline treatments for MoMA’s outdoor advertising and prepare comps showing the headline treatments in place. Along with these treatments, plan to show the process by which you developed this typographic solution, including working drawings, mathematical models, optical
distortion effects, etc.

This assignment is from the class Typographic Research.

02 June 2009 — Assignments, Education

Taking Yucca Mountain

yucca-1

yucca-2

Above: Yoshi Hozumi researched the ancient practice of salting the earth in her response. She presented her findings in a chapbook along with renderings of the barren strip she proposed salting at the outskirts of the site.

The following was broadcast on an NPR news report:

In 2002, [Desert Space Foundation Director Josh] Abbey created a design competition to find a permanent warning sign for the proposed nuclear waste site [in Yucca Mountain, Nevada]. The purpose of the competition, he says, is to find a universal warning sign which conveys that the deposit is highly dangerous. One caveat: the symbols have to work even if language or communication breaks down in the future. And the design has to last at least 10,000 years.

Take a moment to consider this design challenge. Then, respond to it in whatever manner you feel is most appropriate.

This assignment is from the class Typographic Research. It was inspired by several projects from the Long Now Foundation.

02 June 2009 — Assignments, Education

Newschool Supermarket

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viau-1

Above, top to bottom: Peter Murray’s poster adapted packaging used for generic milk cartons. Michelle Viau created a color-coding system for an event calendar based on the dual-ring lids of Ciao Bella gelato.

Go to the supermarket and take extensive visual notes on the typography you find there. Purchase any items you might require for further visual research. Sketch, sketch more, and then use your findings to design a poster for an upcoming event at the New School drawn from the University’s public event listings. The poster should list dates, times, prices, and all relevant event information. It should be sized A2 and posted somewhere on campus before class begins next week. Document your poster’s release.

This assignment is from the class Typographic Research. It was inspired by a similar assignment from Paul Elliman involving this scene from Jean Luc Godard’s Tout va bien. For more, check out this poster by Manuel Miranda.

01 June 2009 — Assignments, Education

UT Austin Lecture

I was thrilled when Prof David Shields of University of Texas at Austin invited me to come down to the Lone Star State to give a lecture about my work as a design writer and critic. In addition to a great studio called Viewers Like You, Shields and his students preside over the Rob Roy Kelly Wood Type Collection, and I was lucky enough to be given a grand tour shortly before this lecture was given.

All of the faculty at UT Austin were exceedingly generous and bright; I must thank them here for their hospitality. In addition to the lecture I was lucky enough to spend a day with the undergraduate seniors in the gallery where they were about to have their show, and they were curious and passionate about design in the most infectious of ways. (They were so passionate about design that one rejected theme for their show was “Designgasm,” which became a bit of a running joke throughout the weekend.)

For anyone visiting Austin, I’ve compiled a few great restaurants and shops on this Google Map. It’s a fantastic city.

The embedded slidecast above was created with Slideshare, which does not allow for absolute precision in terms of transitions but is excellent (and free) nonetheless. I showed two videos during the presentation: this one of Milton Glaser, and this one of Stewart Brand. Enjoy.

31 May 2009 — Education, Lectures

Home Library 1: Auguste Edouart’s Silhouettes of Eminent Americans

Auguste Edouart's Silhouettes of Eminent Americans

Whenever I have my studio lights set up I try to take some photos of books from my bookshelves at home along with whatever I’m photographing for work. I am a huge fan of sharing books on Flickr, but I thought it would be fun to share them here, too. I’ll try to do this as often as I can. —RG

Auguste Edouart's Silhouettes of Eminent Americans

I first bought Auguste Edouart’s Silhouettes of Eminent Americans for my friend Kate Wolkoff because of her interest in silhouettes (see her portfolio titled “Nocturne”), but then I loved it so much I went out and found a copy for myself.

22 April 2009 — Unpublished

rg.linedandunlined.com

rob giampietro lined and unlined

Above: The homepage at rg.linedandunlined.com.

Lifesite
When L&UL redesigned last fall, I wanted to create a kit of design parts simple enough to accomodate a wide variety of content over a long period of time. A “lifesite,” more or less. Some of that content (writing, teaching, resources) existed here already. Some of that content (design projects) existed somewhere else. And some of that content I haven’t even conceived of yet, or it’s been sitting around waiting for a month or two’s worth of rainy days to finally get off the ground. With the redesign, the goal was to find a place for each of these things under one roof.

Once again, Wordpress was the answer, and, again with Randy’s help, we built a project archive, which is now online. It’s still a work in progress, and I will be adding to it in the weeks and months ahead, but there’s enough there now to get a feel for how it works, so go ahead and have a look.

Visual vs Verbal Navigation
This might just be my taste, but when I arrive at site full of design projects I want to navigate with pictures first and words second. Project titles or completion dates may have meaning to their author, but they have little meaning to their user, particularly if the user is unfamiliar with the designer’s work.

I am a huge fan of Flickr’s “Detail View,” which shows thumbnails in a three-column array. If it’s powerful enough to find a needle in a haystack full of reference photos, it’s a good enough for visitors to this archive to find what they’re looking for quickly and easily.

If I do want to use words to navigate, I usually want to use words that I already know. Words like “Books,” if that’s what I need help making. Or “Nonprofit,” if that’s the type of project I’m interested in seeing more of. Or maybe a client’s name or a former studio affiliation. Basically, I want to describe projects with tags, not titles.

20 March 2009 — Unpublished

Movement and Ideology in North by Northwest and The Limey

north by northwest pine forest

wilson walking

One of my top five favorite films, The Limey, turned ten this year, and independently of that started popping up on the pop-culture radar again in a few different places. First in January on Elvis Mitchell’s wonderful podcast The Treatment, filmmaker Steven Soderbergh described his newest film, The Girlfriend Experience, as his most “Limey-like” film since the original. It’s about an elite call girl working in the pre-election hubbub of October 2008 and stars real-life porn star Sasha Grey. Then recently on The Onion’s awesome “New Cult Canon” series (which last week canonized another favorite of mine, Eyes Wide Shut), critic Scott Tobias added not just The Limey but also the film’s DVD Commentary track to its stellar lineup of films.

It was watching The Limey’s DVD commentary several times that spurred me to begin thinking about it in relation to another film I love, Alfred Hitchcock’s North by Northwest. In 2001 I was taking a course on Hitchcock and proposed an extended comparative essay about the two films as my final project. Most of the introduction is dry and overly academic, but the following paragraph cuts to the core of my interest in making the comparison:

Some of the most heated debates of the ’60s/New Wave were Marxist-Capitalist debates, but in these two films Hitchcock and Soderbergh actually visualize these opposing ideologies by consistently placing them in formal opposition to one another and moving their characters between them. North by Northwest, made in 1959, came at a cusp point of the Atomic Age amidst the post-WWII prosperity in America, and its finale, in which both Communism is thwarted (though it’s not said outright) and a marrage is made, wreckons with these twin late-’50s predicaments. The Limey, made in 1999, came after the end of the Cold War and amidst a wave dot-com prosperity in America. That the Marxist is a villan in one and a hero in the other speaks volumes about these thrillers. That both films are thrillers helps determine exactly how. Again and again, Soderbergh and Hitchcock use the idea of exchange over time, and, more importantly, over space to discuss Marxist and Capitalist ideologies. By coupling movement—which is concerned with the formal kinetics of the characters, camera, and shots—with ideology—which is concerned with the social implications of the films’ content—both directors formulate a relationship between the way things move on screen and what they ideologically represent.

The finest parts of the essay, however, are not these broader theoretical constructions but the two sections that work hardest to closely observe how these films move, how their directors work with the camera, and how their editing schemes organize the scenes and story. This is done first on a formal level and then on a more narrative level, as the each of the films’ characters and settings are aligned with different types of transactions, both political and economic. The essay’s methodological cousin is Frederic Jameson’s worthwhile high-wire analysis of Hitchcock’s film, “Spatial Systems in North by Northwest,” available in its entirety on Google Books here. —RG

22 February 2009 — Essays, Film, Unpublished

On Doublets

DNA GOD doublet

Above: Spinning DNA into GOD with seven moves.

Doublets, or Word Ladders, is a game invented by Alice in Wonderland author Lewis Carroll for “two little girls who found nothing to do” on Christmas Day 1877, though there is some evidence that writers played with the form during Luther’s Protestant Reformation or perhaps even earlier in the Odyssey. Carroll originally called the the game “word-links,” but by 1879 he had published enough of the puzzles in Vanity Fair magazine to merit a collection by Macmillan titled “Doublets: a word puzzle,” a reference to the witches’ incatation in Macbeth, “Double, double, toil, and trouble.” The name stuck, and the game was an immediate and runaway hit.

The rules are simple: change one word into another by altering a single letter, which counts for a step. Each step needs to read as a word, and the start and end words are often related in some poetic way. Carroll’s explanatory example involved changing HEAD to TAIL in five moves: HEAD / HEAL / TEAL / TELL / TALL / TAIL. Other popular doublets include making a DOOR LOCK, obtaining a LOAN from a BANK, and turning WHEAT into BREAD (more here and here). Later, other gamers followed in Carroll’s footsteps, adding rules for Studdlets, Splices, Splits, and Splinters (see David Miller’s excellent “Word Games for Formal Logic,” here).

In this 1996 article from The Mathematical Gazette, magician, math writer, and Carroll scholar Martin Gardner writes of Stanford computer scientist (and TeX inventor) Donald Knuth’s experiments with using computers to solve doublet puzzles:

[Knuth] constructed a graph on which 5,757 of the most common five-letter English words (proper nouns excluded) are represented by points, each joined by a line to every word to which it can be changed by altering just one letter. The graph has 14,135 lines. [...] Most pairs of five-letter words on Knuth’s list can be joined by ladders. Some—Knuth calls them ALOOF words because one of them is “aloof”—have no neighbors. The graph has 671 ALOOF words, such as EARTH, OCEAN, BELOW, SUGAR, LAUGH, FIRST, THIRD, NINTH. Two words, BARES and CORES, are connected to 25 other words; none to a higher number. There are 103 word pairs with no neighbors except each other, such as ODIUM-OPIUM and MONAD-GONAD. Knuth’s 1992 Christmas card featured the smallest ladder (11 steps) that changes SWORD to PEACE by using only words found in the Bible’s Revised Standard Version.

16 February 2009 — Unpublished

A More Perfect Union pamphlet by Sam Potts

sam potts more perfect union

Above: “A More Perfect Union” pamphlet by Sam Potts Inc. (Photos by Swissmiss.)

I arrived home tonight and found the small booklet above in the day’s post. It was a simple republication of Barack Obama’s “A More Perfect Union” speech sent by my friend and fellow AIGA/NY Board Member Sam Potts. I’ve written about the power of pamphlets before, but this one moved me a great deal. It came on a day when Obama, a candidate whose campaign was still reeling from the release of the Rev Wright tapes when he gave this speech last March, was about to give his first primetime press conference as President. And it came on a day when Amazon.com announced the Kindle 2, a device that may successfully uncouple print from the page for good. While Obama’s election made me feel young at heart, the Kindle 2’s release left me gripped by the sense that I was glimpsing the future while clinging the past. In short, I felt, for the first time, middle-aged. And while I can see myself buying and even enjoying a Kindle 2, I’m a book person at heart, and always will be. It’s like someone asked me to swap my beloved pet for a Tamagotchi. No dice.

When Obama concluded his press conference this evening, I turned off the TV, sat in my chair, and read Sam’s pamphlet from start to finish. He had carefully chosen this small manila envelope, this beautiful slate-blue paper, and this optimistic, tipped-in note. He had offered me Obama’s speech again at the perfect time in a new and beautiful way. I was deeply touched. Sometimes things come together as they should. Sam’s pamphlet is a case in point.

Below is the passage from Obama’s “A More Perfect Union” speech that I remembered as vividly when I read it tonight as when I first heard it on YouTube last March. As Republicans and Democrats sit in deadlock over the stimulus bill while America’s tide of unemployment swells dangerously higher, Obama’s call to transcend bitter partisanship and stand for hope in the midst of cyncism rings truer than ever.

09 February 2009 — Unpublished

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Lined & Unlined

Moonwalker

Remarks from the New Museum, 13 June 2009

Typographic Research 2009

Re/Responsive Eye

Taking Yucca Mountain

Newschool Supermarket

UT Austin Lecture

Home Library 1: Auguste Edouart’s Silhouettes of Eminent Americans

rg.linedandunlined.com

Movement and Ideology in North by Northwest and The Limey

On Doublets

A More Perfect Union pamphlet by Sam Potts

Recommended Readings

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