The Man Everybody Loves To Hate

Soundtrack: "Disarm" by The Smashing Pumpkins

People in the graphic design world love to hate David Carson.  Especially this guy.  Actually, as an aside, I have not even heard the name Joe Clark before.  And in his postscript he comes off even more self-righteous and egotistical than Carson.  Way to be a dick, guy.

Anyway, David Carson is someone who is reviled because he breaks rules.  When he was art director for Ray Gun magazine he would do kooky things like set articles in dingbats (his reasoning was that the article was very poorly written), run lines of type together and layer them so they became strange messes and nests of typographic oddness, and utilize abstract and experimental photography and illustration.  It was a thankless job.  The readers appreciated it, I know I did when I was just a teenager, but the graphic design community did not take kindly to his brand of design.  It was artistic, free-spirited, dynamic... God forbid!

As the world has moved towards homogenization, individuality is being replaced by standardization.  Designers are taught that we should use a grid, that we should make our design projects adhere to certain standards, and that our material is required to have accessibility in mind.  They are good rules to learn, but after designers leave school they are so indoctrinated that many of them cannot think outside the box.  Instead of serving design, they serve the process.

Carson does not have a background in graphic design.  His background is surfing and sociology.  Before he was hired as the art director for Transworld Skateboarding and later Beach Culture, he was a high school teacher in San Diego.  He came to graphic design through the bohemian beach culture of Southern California, his background is people.  So who better as an art director and visual communicator than David Carson?

The work he did in the 90's is not as relevant today as it once was, but culture is cyclical.  I'm already starting to see a revival of Paula Scher's bold typographical style, and grunge typography is starting to resurface.  I have a feeling that very soon the can of worms Carson opened will once again be opened.  I can't wait.

Building A Better Me

Soundtrack: “Dashboard” by Modest Mouse

Among other projects like prepping my parents’ house for painting, I have been working hard at getting a cohesive and well-put-together portfolio done. Of course I have grandiose plans for it, it wouldn’t be me otherwise, but I am also being realistic in my expectations for it. The most important of these expectations is to build a portfolio that not only shows what my technical and creative skills are but also shows every person who looks at it who I am. This is a feat that I have found takes a large amount of introspection and self-reflection. I do not always like what I see, but I am having to leave that behind that and focus on the good parts. I am an abstract analyzer and thus I tend to reflect on how something could be better. That especially applies to me and for so long I have been in this mode of living where guilt and regret over past mistakes has defined me. I make myself a tragic figure instead of someone who overcomes adversity to come out on top. It is a tough thing to change when it is all you know.

So instead of dwelling, of late I have been working to apply my positive attributes to the things I know I am not good at. For example, I am not good at managing my time but I am good at managing graphic matrices and how things fit in a space. So how then can I apply that to my time management? It is forcing me to be even more creative with how I do things. And anyone who knows me knows that being creative is my favorite thing.

Elegant Sustainability

Soundtrack: “Frank Sinatra” by Cake

Sustainable technologies are starting to become all the rage right now in light of rising energy and traditional materials costs. These are technologies that have been around since the dawn of time but have been forgotten since the days of the Industrial Revolution in favor of mass-produced assembly-line products.

While mass-production itself is not a bad thing, it has allowed our culture to become lazy consumers. We throw things out at the drop of a hat without thinking about reusing or recycling. This means that more and more goes into the garbage can which means that manufacturers have to make more stuff. Which then goes into the garbage can. From the garbage can stuff goes into the landfill and that means that the natural cycle of things is broken. Resources are not allowed to return into the chain and future generations end up having less to work with. Not only that but the environment suffers. What sustainability does is provide the best outcomes for the human and natural environments both now and into the indefinite future. People within the sustainability community embrace balance. How can we use the resources we have now in a responsible way so that the earth doesn’t suffer and future generations will have what they need? It is definitely a much healthier outlook on conservation and the environment than the fanatical environmental groups who take on a reactionary attitude towards things. And with all of the controversy surrounding global warming and climate change, I feel that sustainability is the best answer to the polarizing questions swirling through our society.

The great thing about sustainability is that it can look good. There are quite a few companies out there that are deeply entrenched in utilizing sustainable technologies, and in fact many fall within the design community. One such player is a company called Moral Fervor. They make great clothing made from organic and recycled materials. Not only that, but their clothing has some awesome design going on. There's a video below that is a short blurb about what they are all about, it's pretty cool.

I would challenge everyone to get involved in the sustainability movement. You don’t have to make any huge life-altering changes, just changes in your attitude towards being a consumer. All it takes is paying attention to the little things. For more information about it, there are two great web sites here and here that offer some great explanations and resources.

Tactile Design

Soundtrack: “Cyclical Code” by Bexarametric

Touch screen technology has been around for quite some time now and it has had it’s ups and downs. Even these days touch screen monitors are finicky, fickle creatures. They have dubious sensitivity and they only offer single-point input, so the user ends up angrily poking the screen for fifteen minutes. Nice.

But Microsoft is developing a computer system that uses a new multi-point touch screen that is quite frankly amazing. This touch screen technology was first built by Jeff Han’s Perceptive Pixel in order to create advanced touch screen solutions for the government as well as private sector companies who could benefit by using multi-point touchscreen technologies. Interestingly enough, these types of interfaces have been around since the 1980s. However, they tend to take a lot of processing power, much more than what was available previously. With dual core and even quad core processors making it possible to do an insane amount of calculations per second, now is the perfect time to harness this technology and make it shine.

I have to admit my mouth is watering. As a graphic designer who specializes in print design, I can see many things that this technology can add to the industry. I would much rather work on a table-top surface instead of a computer screen and keyboard. Not only that, but tablet technology right now is still limited by still being a single-point input device. No stylus, no tablet functionality. But with this technology available, I can only imagine what is possible. Think of taking a stylus shaped like a calligraphy pen and creating digital art that was not previously possible. Or using your fingers to arrange the elements of a composition, or to paint. The possibilities are staggering!

No More War And No More Soldiers

Soundtrack: “With Every Light” by The Smashing Pumpkins.

I apologize for the long stretch of time between posts. I've had a lot stewing on my stove, so to speak. There is stuff I want to talk about, but for the last two or three weeks I just have not had any creative drive whatsoever.

I am going to get personal again for just a little bit. I am making a compromise of sorts. I am laying down my weapons because I am tired of fighting. Being right is not worth the trouble I have gone through. I am no longer going to agonize over what is “good” or “right” or “just”. I do not care about things that do not concern me. From this point on I am simply going to live like every day is my last day.

I have always been a very competitive person, but mostly with myself. And I am sick of beating myself up over everything. It is going to take some work, I know, but I cannot justify being miserable and agonizing over the little things. It is time to not just look at the big picture, but obliterate anything that gets in the way of the big picture. That means killing a lot of darlings, as they say in the literary world. It also means focusing on my needs for once. I have been putting everyone before me and sacrificing so much, and people do not give back. So fuck 'em.

But I still love. I still have a love for people who inspire and give just as much, and sometimes more, than I. I still love what I do, but I am going to find a new catalyst a new outlet. No more doing penny jobs for friends, I am going to aim high. And I am going to work hard to form lasting relationships with people who are tied to the graphic design world. I am going to make the most of these relationships. And I am going to spread the work of my friends and colleagues because they deserve it.

I will start with Pete Harrison. Based in the UK, Pete is the mastermind behind Aeiko.net and Funkrush Clothing. And I would have to say that Pete is my favorite designer right now. Maybe ever. His typography work is amazing. He is constantly finding new and exciting ways to represent those pesky 26 letters of the alphabet. So do yourself a favor and go check his work out. It blew me away and I am a cynical designer who’s seen just about everything.

Look ma, the sun is shining on me.

Disappointed

Soundtrack: “The Bends” by Radiohead

I am more than just a little disappointed at the moment. I would be frustrated, but some awesome acupuncture earlier today cleared that up. I have been making a conscious effort to not get stressed out or frustrated or angsty and simply keep doing what it is I do. And that is design.

But the disappointing this is that this aspect of my life, the thing that I feel I am best at, is not paying off. It should be, but my current employers, who promised me in contract that I would be paid biweekly for the services I render. At the least I should be paid at the end of each project and that is not even happening.

If you recall, some time ago I wrote a blog about being very excited to work for NeverAsk. I still love working for NeverAsk in many aspects, but things are going downhill very fast. To the point where I do not know how I am going to pay rent this month. And I owe money all over town, although not to known pornographers.

I just do not know what to do anymore. I am looking for a job that actually pays right now, but finding a job can take time and I am out of time. I cannot help feeling that I am responsible in some part for letting my friends walk all over me, but I can only take so much responsibility and that is what is frustrating about the situation... a lot of it is out of my hands. I do not like feeling helpless, but when things are out of my hands that is how I feel.

I know what most people are going to say the solution is. “Just have faith”. It’s a nice idea, but faith doesn't pay the bills. Working at my vocation, my calling, is what puts money in my pocket so I can pay rent and eat and do all those other fun things like drink beer. I know what happens when people go overboard with “trusting” faith with their needs... they end up hurting themselves, and usually many people around them. I am not going to renounce my faith and deny that I believe in God, or the tenants of Christianity, but I need to be realistic. And reality is telling me I need to rob a bank.

Just kidding. I am not going to be robbing any banks any time soon. But I am going to start working my ass off even harder than I have been. Instead of spreading myself thin as I have been, I need to focus on the one thing that will help me survive, and that is my career in design. I do not care where I start, I’m even willing to work crappy coffee shop jobs for a while, but I need to get my foot in the door, I need to get my portfolio all nice and shiny, and I need to work to convince the design world of Denver that I am what they need. It will not be easy, but I am always up for a challenge!

Creating Creativity

The buzz right now in the creative community is the new Adobe Creative Suite that was officially announced yesterday via a live event and webcast. Let me tell you, it is a designer’s wet dream. As I have been watching this product rollout I am completely geeking out... this is the kind of stuff that designers go nuts over, but if I showed it to someone outside the industry they would simply smile and nod.

In a nutshell, not only does each element of CS3 have gobs of cool new features that allow ideas to be better implemented, but the entire suite of programs are better integrated to allow for a smoother, quicker workflow, not to mention the ability to do do things that were once either not possible or extremely difficult.

The big question is, can a software suite (a really damn expensive software suite at that) make a person more creative? Can Creative Suite’s new features make me a better designer?

In a way, yes, but despite having all of these features a designer has to have talent. These amazing graphics applications can help breed creativity, but in the end it doesn’t matter if a person knows the software back and forth... if they do not know how to apply the software, it is a moot point.

A great artist is a great artist no matter what tools he has available. Before Photoshop and Illustrator and Quark XPress and all of the other graphic design software out there in the world, there was letterpress. Before letterpress there was copperplate. And so on and so forth. If you look at pieces of art and design made before the advent of computer graphics, there are still some amazing works that were created with the kind of imagination that transcends technology. Toulouse-Lautrec, Frank Lloyd-Wright, Andy Warhol... these guys didn't have Adobe Creative Suite 3. In fact, it could be argued that not having these amazing innovations can be a good thing.

When I started drawing and painting and creating, I did not have a computer loaded with Photoshop. Actually, Photoshop didnt exist. I used the tools that I had to exercise my mind and become a better artist. I had a foundation of learning how art works that allowed me to expand upon that in my later years. In high school, when I picked up Photoshop for the first time I was able to use that foundation in art and design. Once I learned the tools and how they all worked, I could then take that knowledge and apply it to my process.

Chances are most of the people who will be able to afford this awesome new software suite will be people who have some sort of design or art background. And most likely this awesome new software suite will not make them more creative. Rather, it will allow them to harness the full potential of their creativity and allow them to make the ideas in their brains reality. I am one of these people, and I can’t even tell you how excited I am!

Be What You Are...

Soundtrack: Amélie by Yann Tiersen

Earlier this month David Carson spoke at the Colorado chapter of AIGA. I didn’t get a chance to go see him, which was a big bummer since those who know me can tell you that David is by far my favorite graphic designer. However, the AIGA Colorado podcast for this month features the Q & A he did as part of his presentation. It was very short but extremely inspiring.

At one point David fields the following question: “What is the difference between Art and Design”. That is a terrific question and he had a great answer for it. Carson said “I think the lines have blurred... I’m driven more towards the art side of it.” He went on to point out that most of his influences are fine artists (like Mark Rothko) instead of other designers (like Paul Rand). He also mentioned that AIGA stands for the American Institue of Graphic Artists. And he ended with "I think you have to make that decision. It has to be I think, what you’re passionate about. It's your choice.”

I don’t quite know why, probably because the man is a god among men, but that statement had a huge impact on me. It has made me think long and hard about where I stand in the world of design. After all, this is a huge field and the range of careers within it is enormous: from accountants to art directors to illustrators to photographers. In fact anyone who wants to get into design can, it doesn't make any difference whether you are artistic or not. Just don’t expect to be a production artist or designer or an art director if you are lacking in artistic ability.

David Carson is in a unique position. He didn’t start his career in the commercial arts the usual way, which is going to school and getting an internship and then getting a crappy job as a web monkey or production artist or whatever. Here is a man who loved to surf, he loved music, he loved skateboarding, he loved that whole culture. He graduated with a degree in sociology and the only training he had in design was a couple of graphic design workshops. Instead of learning about art an design from the outside, as many of us in this industry go through, he learned all he could from the inside by immersing himself in the beach culture of the mid 80s. Punk rock, skateboarding, surfing, bohemian attitudes and an emphasis on self-expression through art is what he found; a gig as the art director of Transworld Skateboarding is what he walked away with. In 1991 his success as a professional surfer (he was ranked 9th in the world in 1989) allowed him to become the art director for Beach Culture, and it was there that he solidified the unique style that he had been cultivating. At the time the style was revolutionary and it ushered in the grunge era of design... an era that helped give the grunge era of music it's identity.

Since then he's worked for HOW magazine, founded Ray Gun magazine, and started up his own design studio where he's worked with everyone from Nike to Nine Inch Nails. Not bad for a guy who didn't even go to design school. And it has me wondering if I need to go to school. I've been in school for way too long. I have learned a lot here, but I have learned even more on my own. It has been good for me because most of my teachers have pushed me hard, sometimes to the breaking point and sometimes even past the breaking point. But I have also pushed myself and I work for people who know that even though I am good I can be better, much better. I just finished what I think has been my greatest design achievement this weekend. It’s just a web site, nothing even that sophisticated. But every step of the way I've had plenty of solid constructive criticism of my work and I have generated something that I feel is some of the best work I have ever done.

David Carson’s words are still ringing in my ears... do what I’m passionate about. It’s my decision. If I am not passionate about learning through books and homework anymore, but rather passionate about learning through immersing myself in what I want to do, in becoming a part of the culture of design, maybe I should stop doing what I am not passionate about and just start doing. David Carson worked hard. He wasn’t lucky, he wasn’t just in the right place at the right time, he was the right person at the right place at the right time with the right mindset and a drive to do something new. Revolutionary thinking is not easy. It is not something anyone can do. I believe it is something that 80% of the people on this earth are just flat out not capable of.

And I know beyond a shadow of a doubt that I am part of the other 20%. There is no ego, no simple arrogance, just fact. I know I am better than most people, and I think it is time for me to prove it.

I just have to decide what is the best way to accomplish that.

But I know I am going to be what I am and most of all be passionate about what I do. You should too.

Everybody Loves Wired

Soundtrack: It’s Crazy by Drag The River

Wired Magazine is a unique entity. Not only is it a successful print magazine, it is a wildly successful web site. Recently they underwent a design overhaul. A new identity combined with a new front page layout has given the stalwort media dispenser a fresh look, but not everyone who trolls the world wide web is a fan. Among the many negative comments are posts such as “To which middle school art class did you farm this out?” and “No. No. No. Bad Wired. Surely this is some cruel joke because you withheld pizza and caffeine from the html coders, yes?”.

It is not a cruel joke, and I am not quite sure what people are complaining about. Apparently it is hard to read, but when I view the site in both Firefox and Safari, I see a well designed site with great visual hierarchy. The designers do not need to tell you what parts are the most important with subheadlines. Everything speaks for itself. In fact, it almost reminds me of the way an actual print magazine table of contents might be laid out.

Here’s what I think has happened. People on the whole do not respond well to change in the area of things that they are familiar with. Wired had the same layout on their front page for years and years, and people were used to it. They could scan through it easily and find what it was they were looking for. And then the folks at wired had the audacity to overhaul their own front page... how dare they! Well the world changes, folks. All of you out there in hinternet land are going to need to get used to that. Sometimes it is hard.

On the other side of the coin, it is not necesarily a good thing for a buiness to alienate their customers, and especially not good for a magazine to alienate it’s readers. There are going to be the folks like me who continue to read Wired regardless of the change. There are going to be the readers like me who like the change better. There are going to be new readers, and there are going to be people who leave because they do not like the way the new front page looks. What remains to be seen is whether the people who leave outweigh the number of faithful as well as new readers. Here's looking at you, Wired. Good luck, you’re gonna need it.

A Microsoft Type Thing

Soundtrack: “Identity Theft” by Vaux

I know I complain about Microsoft a lot, but I don't want people to get the impression that I indiscriminately hate them. On the contrary, in fact. I do enjoy many of their products and innovations. OpenType has to be my favorite of these innovations, but as someone who deals with web design daily, ClearType is a close second.

To be honest I am surprised that Microsoft came up with it and not someone else. I don't know, maybe I shouldn't be surprised, but ClearType is a literally a new way of looking typography in the way that it allows digital type to be more readable on the screen. Microsoft in the past has done some things for web design that have been innovative as well as some things that have been annoying. Microsoft FrontPage is one of the annoying things they've come up with, but on the Typography front they have been somewhat helpful. Since Windows 95 was first released Microsoft has been releasing a steady stream of web and screen friendly typefaces like Georgia and Verdana. I am not a huge fan of Verdana's clunky stature, but Georgia is perfect as a screen font. In fact, as you read this blog you are enjoying Georgia’s pleasant proportions and large x-height.

This brings me back to ClearType. Microsoft’s screen fonts were a great step forward in pushing design for the computer screen forward. But Microsoft’s typography division was not satisfied. So for several years now they have been working on a new of way of rendering screen fonts called ClearType.

The story goes like this: the main reason that Microsoft has been pushing forward in the area of digital typography is pretty simple. The majority of typefaces are designed for print. Helvetica and Arial, Times New Roman, Garamond, Futura, Optima, even Lucida... they are all designed for print. That means they look great on paper. Books, flyers and posters, packaging, and everything else you can print. And many of them translate well to the screen at larger weights. But once you get below about 10 point, the elegant figures of a typeface like Garmond become hard to read because of resolution. See, print has a high resolution. Your average laser printer prints at 300 dpi, or dots per inch. Your average screen resolution is 96 ppi, or pixels per inch. This means that a laser printer has over three times the resolution of your computer monitor. No, junior, not even your “high resolution” LCD screen can compare. And so Microsoft has invented ClearType, which uses what is called sub-pixel rendering to make typefaces look good. Now spindly script typefaces won’t look like pure crap. Elegant faces like Garamond will show up halfway decent on screen. But Microsoft didn’t stop there. They didn't just want a new way of rendering type, they wanted to show it off.

What do people who care about typography do so that the default typeface looks good in both print and web? Commission a whole slew of new fonts that do just that. And that is what Microsoft has done. And they developed these new typefaces in conjunction with ClearType, so they are guaranteed to look good. I have to say, as a typography nut they look really good. I was impressed. No clunky Verdana. No old and tired Courier. Just six really solid typefaces. Wanna see them? Sure you do.

The crazy thing about this is that ClearType has been around as long as Windows XP has. A few years back Mister Usability himself, Jakob Neilsen wrote about how ClearType has the potential to save a company an average of $2000 dollars per employee per year. But you have to turn in on.

Thinking About Type

Soundtrack: “Bayonetwork: Vultures In Vivid Color” by Norma Jean

Let’s talk about typography. Because it's important that we do.

Back some time ago Joe was giving me grief about being a typophile, and he said something along the lines of “I don't obsess about what font I use.” That statement has stayed with me for this entire time and in fact it has actually bothered me. And I think I now know why. Our world is filled with people who do not care about good typography, and that scares me because as a result it means they are saying they do not care about communication or language.

That’s why I am here, to once more make people care about these things.

First off we need to establish some proper terminology and vocabulary. The typeface that this blog is formatted with is not a font. Nor is a font another way of saying typeface. Do not tell me to change the font because I won’t. Instead tell me to try a different typeface. Because I can do that.

Now that we have some proper groundwork laid down, let’s talk about why typography is important. Typography is the way that words are visually communicated to the reader. In the old days people would write things like letters by hand. If you wanted something typeset you took it to a typesetter. The typesetter knew his trade and therefore you didn't have to know about typography. A little later typewriters came along, but nobody had to worry about typeface selection because there was one, and it was monospaced so nobody had to know about kerning or tracking or any of that. And then the personal computer was invented. So now we live in an age where everyone in some way is an author of communication and it is important that everyone be able to communicate properly.

What does this mean?

It means you have to learn something, Einstein. It means you need to become educated in how to properly communicate to the masses, and to do that you need to learn about typography. Why do you need to do that? Because you don't have the typesetter anymore. You have a computer. You have an available internet connection. You are ready to start bringing your ideas to the masses. So do it the right way.

I am not going to go through everything you need to know here. It would take far too long and I just don't have the time. But I will show you. There are many great web sites out there that can tell you about typography. Thinking With Type is one of them, and I think the best. It skips the history lesson and goes straight into the nuts and bolts. It tells you what you need to know about properly using typography. And it even has links. So go there. Drink in their wonderful knowledge. And use it, for goodness sake. You don't need to go overboard and make all of your emails works of design genius, but at least try to make your website look like it wasn't designed a five year old. Because I don't know if I told you this or not, but... it totally does.