Education is not neutral
"There is no such thing as a neutral education process. Education either functions as an instrument that is used to facilitate the integration of the younger generation into the logic of the present system and bring about conformity to it, or it becomes 'the practice of freedom,' the means by which men and women deal critically and creatively with reality and discover how to participate in the transformation of their world."

—Richard Schaull, from the foreward for Pedagogy of the Oppressed by Paulo Freire

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Marketing turns us into stereotypes
Marketing turns us into stereotypes,
Literature turns us into archetypes.

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What Type Are You?
According to world-famous Pentagram—and they should know—I am Archer Hairline, designed by the lovely Hoefler & Frere Jones.
"...outbreaks of elegance and tiny dots of emotion only apparent on closer examination..."
I can live with that.

Image of Archer Hairline, a typeface by Hoefler & Frere Jones

So, what type are you? (The password is character.)

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Actual Content vs. Perceived Content
A beautiful piece by Clemens Kogler and Karo Szmit:




[via Brand66]

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Maine, Ayup.
I just uploaded some photos from my Maine adventure. The Captain was very patient with my obsession of taking useless snaps of signs. You can check out the still-growing Flickr set by clicking here, or on the images below.

Breakwater

Breakwater in Rockland, Maine. Taken by Jess Sand

'Eat' by Robert Indiana

Barber shop in Rockland, Maine. Taken by Jess Sand

Barber Shop

Image of Robert Indiana's 'Eat' sculpture in Rockland, Maine. Taken by Jess Sand

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The Fun Theory
Making an action more fun makes people more likely to do it. We seem to forget this too often.

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Screen Printing Adventures Part 1: Getting My Sea Legs
I've never screen printed before. Block printing (lino cut), yes. Screen printing, no. Holy heck, it ain't easy. With a new-found respect for print pullers, I figured I would post the process just to give those of you unfamiliar with the art some idea of what goes into it.

My adventures started with a stack of old New York Times Sunday editions in the corner of the apartment and an itch to get back to the good old fashioned art projects I used to do all the time. I figured the newspaper sheets were already poster-sized, so why not put them to good use instead of chucking them into the recycle bin?

I started reading. Asking around. Collecting supplies. Anticipating all the various disaster scenarios that were likely to occur. Screwed some hinge clamps to a board so I could set up shop on the dining room table. And then finally the weekend came.

The Work Area

I knew from the get-go I'd have to run the posters off in (very small) batches, since our lil' space is limited. To start, I screwed a couple of hinge clamps to a 2'x3' board that would serve as the main printing surface. (I made sure to place the hinge clamps just far enough apart that I can use the board for both my larger 16" x 20" screen and a smaller 8" x 10" version should I get the itch for that.) My printing area is nothing more than the kitchen table wrapped in newsprint, which provides ample room to hold the printing board, the ink and squeegee setup, and a stack of newspaper sheets.

Roughstock tries screen printing: the work area

Our clothes drying rack and a crapload of binder clips would hold the prints as they came off the table. Of course, that only holds 20 or so newspaper sheets but I figure once I get the hang of things, I can always rig up a couple of temporary clothes lines to hold more.

Roughstock tries screen printing: the drying rack

Getting the system down

The Captain (who was to be my assistant) was called out of town at the last minute to mix the biggest-selling band in Mexico, which left me a nice empty apartment in which to make a mess, curse under my breath at my constant mistakes without hurting anyone's feelings, and play Loretta Lynn just a little too loud in the background (quick aside: this experience afforded me some excellent iPod moments, including moving from the lovely Loretta Lynn straight into Too $hort...whoa).

Roughstock tries screen printing: the squeegee

I'm a planner, so my process was pretty well-coordinated:
  1. Set up work area.
  2. Prepare newsprint.
    This involved halving the full sheets and ironing them under a pillow case to try and get the creases out. The ironing helped a little, but I half-assed it and most of the sheets were still pretty creased. That shouldn't matter much, though, right? Heh. Wrong.
  3. Tape off screen.
    So this was a brand new screen and I didn't degrease it. Probably not smart, but I figured this first pass was just going to be a solid block of white ink to create a fresh background for my print, and I'm using a stencil instead of photoemulsion chemicals. So I just used blue painters tape to tape off the screen edges. Clever lady that I am, I ran the squeegee over the tape sans ink to be sure it would travel smoothly. Not so much (the painters tape was too thick, and the squeegee kept catching at the edge). So I slapped some clear packaging tape over the edges to create a smoother surface.
  4. Set up my registration.
    In order to keep your design (in my case, a giant white rectangle) in the same place on every sheet, you need to mark where the corners of each sheet should lie on the work surface. I just used a couple scraps of tape to mark the registration. When it comes time to print the actual design, I'll use a more exact system to be described later.
  5. Mix the paint.
    I wasn't too sure how much paint I'd need, but I'd read a calculation that with water-based paints, one should allow about 1 cup of paint for 75 square feet of coverage. My sheets were about two square feet each, and with 20 sheets that gave me about 40 square feet—or just over a 1/2 cup of paint. I poured that amount of Speedball's standard water-based acrylic into a plastic cup, added a dallop of retarder and a dallop of extender (I wasn't sure if I should just pick one, but I figured it was a life lesson and went for broke), and stirred that sucker up.
And then all of a sudden, I realized I was ready to go.

Pulling the prints

And this it where it all went to hell. Actually, I should be more accurate: it all went incredibly smoothly, but my ink coverage was pretty terrible from start to finish. I'd read a whole lot about technique; what angle to hold the squeegee at (anywhere from 10-45°), how much paint to pour out, how to flood the screen before the actual pull, how hard to push down, et cetera and so forth. Boy was I ready.

I place the first sheet at the registration marks, and pour a thick line of ink along the bottom of the screen. I hadn't left much tape around the top and bottom edges, as the newspaper sheet was pretty tall and I didn't want 6" gaps of articles still visible. So, I lift the screen off the work surface slightly, and run the squeegee over the screen from bottom to top for the first flood stroke. I push down pretty hard to make sure I get full ink coverage across the screen, and it looks good. I drop the screen onto the work surface, and pull from the top down. Completely uneven! Wacky vertical streaks, and one thick horizontal streak where the newspaper was folded through its middle. Oops.


Roughstock tries screen printing: laying down the print

With each subsequent print I tried making little adjustments. I tried more and less paint (didn't seem to make much difference, though I did need to be generally pretty generous with it). I tried pushing harder on the flood. I tried pushing harder on the second pull. I tried adjusting the angle of the squeegee. Nothing completely eliminated the streaks. The best prints, though, were the result of generous ink, an almost completely upright squeegee, a single gentle flood stroke, and single hard second pull.

Troubleshooting

I suspect the terrible coverage was a result of several things, not least of which was the paper choice. Newsprint is thin, and these sheets weren't completely flat. Although I was doing no-contact printing, where the screen rests about 1/8" from the surface of the paper when it's down, I got zero snap-off (which is when the screen lifts itself off the paper after the pull...I think).

But I know I was probably butchering those pull strokes. Had I had an assistant, they would have held the screen up while I pulled the flood, holding the squeegee with both hands for a nice even coat. But I only had one hand, and I suspect my pulls were a little janky. I have arthritis, and this was also a lot harder on my wrists and hands than I expected. Maybe I was pressing too hard on the squeegee, but I can't imagine doing this for much more than the 20 sheets I did.


Roughstock tries screen printing: the print

Finally, I have to wonder if either my ink mixing was off, or if not degreasing the screen was a huge mistake. I suppose I'll have to hit up some pros for input, and adjust on the next run. All said, although my prints are all uneven, I loved the process. Hopefully I'll figure out what I was doing wrong, and the next few runs will be better. My saving grace was that the crease marks were much less visible once the ink dried, and my hope is that subsequent layers will cover them up even more.

So stay tuned for round two, in which I attempt to lay down the first layer of the design.

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United Skull of America
On the heels of my last post, we have Noah Scalin's lovely United Skull of America:

Image of Noah Scalin's 'United Skull of America,' skull #10 in his Skull-a-Day project.

And be sure to check out the rest of Noah's Skull-a-Day project.

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States United
Love this poster from Gregory aka Beauchamping:

Poster: 'States United' by Gregory aka Beauchamping

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Marketing Blog Formula No. 47
Describing how sports/current events/your latest bathroom visit is like your product/service/the marketplace.

image: stop relying on tired old constructs to write your blog content

Please, for the love of all that is good and holy, stop relying on tired old constructs to develop your blog content. I understand we're not all professional writers, and some folks need structured prompts to get inspired every once in a while (I know I do). But so many of these posts are grasping at straws, creating parallels where there are none. Worse still, such constructs don't generally lead to good writing. Because even when you've drawn a nice straight comparison between Michael Jackson's struggle for sanity and the solo entrepreneur's struggle for work-life balance, you're still left with the giant unanswered question of so what?

How do such metaphors (similes?) help your readers understand the significance of your point? Too often, they don't. What they do offer is an easy way for bloggers to keep talking about themselves, rather than anything that really matters.

So here's a quick challenge: the next time you're inclined to write your post around a comparison between some current pop culture phenomenon and your own business, take an extra minute to keep writing. Write about why anyone should care in the first place, and write about what it really means for your readers. Then go back, re-read it, edit the hell out of it, and then post it.

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Sustainable Design Town Hall: Nathan Shedroff
Back in early May, I wrote about a group of about 20 or so designers and educators who attended a Designers Accord town hall meeting in San Francisco to explore the subject of sustainable design and exchange ideas. This post is part of a short series in which I continue the conversation with some of the other presenters there about designing messaging that drives measurable, ground-level change.
Previous posts:
Series Introduction
Lynda Grose and the Sustainable Cotton Project


Nathan Shedroff is the chair of the MBA in Design Strategy program at California College of the Arts, really one of the only programs of its kind in the U.S. He's a prolific author whose most recent book, Design Is the Problem: The Future of Design Must be Sustainable, outlines a stunningly accessible vision of the future of design. At the town hall in May, Nathan discussed the interdependence of design, business, and sustainability—as he pointed out, "you can't have one without the other."

Image of Nathan Shedroff's book 'Design is the Problem'

More recently, I asked Nathan a few questions via email about how individuals and organizations can translate sustainable design thinking into practice. His responses—along with the whole of Design Is the Problem—reveal a pragmatism infused with optimism that is often lacking among sustainability proponents, and that is utterly necessary if real change is going to take place in both the private and public sectors.

Jess: What has teaching this stuff taught you about how people best respond to sustainable design issues? How did that influence the writing of Design Is the Problem?


Nathan:
I've been teaching sustainability and product development for at least three years—and some of experiences definitely influenced the book. One of the things that sometimes happens is that people assume sustainability is only about the environment. Another is that a lot of business students, though not engineers and designers as much, aren't terribly interested in sustainability at first. I should note that these aren't my students, luckily.

Next, many students go through a profound kind of depression at first. In the first 6-8 weeks of our Sustainability Studio in the program, our students were noticeably discouraged. It's not that they didn't realize that the impact we've had on the planet and other people was bad, but the extent in both breadth and depth is pretty staggering. It's not until about weeks 8-10 that they really pull themselves out of it, and that's mostly because we not only talk about the tools available and the strategies to create more sustainable solutions, but they actually use these. We don't teach about sustainability [as an exclusive concept], but in the context of making solutions. I think this context is critical because it simultaneously informs and enables, and that sense of enablement is important for sustainability, and is at the core of design.

A lot of this rethinking of the design process seems to require three things: the commitment, the know-how, and the resources to implement. That seems like a tall order for the average American business, which is statistically likely to be small (under 100-500 employees, depending on the industry); how does a single person operating within an organization begin to pull those three things together?


The first thing organizations can do is familiarize everyone in the company with the basic principles and frameworks of sustainability. Everyone should know what sustainability is and shouldn't be afraid to talk to others about it. Walmart has done this very effectively through their engagement with Act Now Productions, now known as Saatchi & Saatchi S.

I was at a sustainability conference recently and there were too many people who got up on stage and essentially said "I'm not sure why I'm here because I don't really know anything about sustainability." I challenged the entire audience not only to be more informed next year but to set a goal that everyone in their organization, by the end of the year, should know enough to be comfortable getting onto any stage and speaking about sustainability. It sounds like a tall order but I don't actually think it's that difficult. It's actually much easier for smaller companies than for larger ones.

Sustainability is just one important business trend but it represents a major failing of most organizations. They don't know how to both engage their own employees and inform them about their own business. Everyone in an organization should know and be able to respond to the organization's strategy, business goals, industry drivers, and customer profiles. It's crazy that most employees can't articulate this and it's the fault of leadership, not the employees. Sustainability is just a new business driver to add to this overall need.

The book spends a lot of time discussing the need for a "systems perspective" and what that means. But it seems to me that American culture and institutions are designed to celebrate the individual—individual experience, individual expression, individual success. First, can you talk a little about the value of a systems perspective and second, how can a society like ours reconcile its individualistic nature with the need for a broader view?


Perhaps we've emphasized the individual over the system too much, in the same way we emphasize competition over cooperation. Neither is better than the other, and neither can exist without the other—not if things are to progress. Evolution wraps these same two dichotomies together as proof that they're both natural and necessary.

Individuals can't function nor be individualistic without a supporting society (which is a set of systems). There's nothing incompatible with supporting both systems and individuals, cooperation and competition, and standards and innovation. Maybe, we simple need to tell the rest of the story. In the U.S. media, we tend to present everything as an either/or choice across one, narrow spectrum. You're either a Liberal or a Conservative, a business person or an environmentalist, etc.

The truth, of course is that life is more rich and complex than these false choices. It used to be common that people identified as "fiscally conservative but socially liberal" but even this has disappeared from the national dialog. We're asked to choose between being prudent or being sympathetic, as if the two were mutually exclusive. Business is seen as being all about money and profit despite that not being the initial history of business in the U.S., nor reflecting why so many people start their own companies.

We have to cast off these false choices and old stories. Even if they were true in the past (and I don't think many of them ever were), they're not relevant now.

Where is this reconciliation happening right now? Where is it most lacking?


It's more lacking in large organizations of all types: businesses, governments, and even nonprofits. The culture of doing business or running an organization must be completely reconsidered, starting with hierarchy, strategy, and instituting a service-oriented culture.

We are grossly inefficient but in ways most pundits don't consider. For example, most every critic of government points to businesses as an example for being more efficient and effective. I'm not sure how many companies they've ever worked in but most businesses aren't a terribly good example of efficiency nor effectiveness. There are exceptions, for sure, but really, our government would have failed long ago if it had suffered some of the disasters business has been responsible for. Local governments have, undoubtedly, moved faster in many cases and are more effective than state and national governments but, again, there are exceptions.

We also need to rethink our economic models. The ones we've been using for the past 5-10 decades were flawed from the start. We've been patching them for years but the patches aren't good enough. You get what you measure and we've been only measuring money—not any other element of a successful society or lifestyle. It's no wonder that's the world we've gotten, and we find it increasingly difficult to value anything else.

You also co-wrote the book Making Meaning: How Successful Businesses Deliver Meaningful Customer Experiences, in which you discuss the many ways businesses can connect to customers to develop deeper, longer-lasting relationships. In a recent interview, you discuss how important it is to use meaning as a way of connecting with people on the issue of sustainability. But is there more to it than that? Is there something inherently parallel about meaning and a sustainable system? Is a sustainable system itself inherently meaningful?


The jury is still out on that. I believe that the more meaning we have in our lives, whether that's from buying and having more meaningful things, experiences or relationships, the less stuff we ultimately need. I don't, however, have research on this and I'm not aware of it. All of my experience is anecdotal but I do see evidence of it all around me.

The people I see with the most meaningful lives have stuff, for sure, but less of it than most others, and they tend to consider their purchases more carefully and in a wider context. They tend to be more engaged with sustainability—and [engaged] more deeply. They're not the people rushing out to "acquire" bamboo floors and green this-and-that for the sake of it. That's largely a fad at the moment. If they were remodeling, they would certainly make these choices but not for the sake of having these things.

I find that the people who live their values more tend to be happier or, at least, more at ease. I attribute this to being more engaged at the level of meaning. So, in a very real way, I believe that helping people live more sustainably will, necessary, need to engage them at the level of meanings and values—at least for any long-term effect. Thankfully, we have models for doing this, now. We just need to use them.



You can read about these models in Nathan's book, Design Is the Problem. I highly recommend it, whether you're a designer or communicator, business owner, or simply interested in new ways of thinking about old systems. You can also visit Nathan at his personal website, and learn more about CCA's MBA in Design Strategy.

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Happy Fourth! Ink Initiative Poster Sale for A Great Cause
The Ink Initiative produces high-end illustrated posters that are screen printed by hand, and donates all profits to charity (this year's nonprofit organization is Philabundance). Talk about a worthy business model. Anyway, they're having a 2-for-1 sale while supplies last.

Ink Initiative 2-for-1 poster sale: posters for charity

In the meantime, drive safe, enjoy your BBQ, and don't lose any fingers!

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The Concept: Advice to Be Taken As Directed
A concept is generally considered to be the most important element of any commercial design project; designers love to throw the word around, but many are hard-pressed to actually define it. Copywriters rely on concepts as much as designers (and are often the ones responsible for developing them at the outset of a project), but are often just as much at a loss for words when asked for a definition (sad state of affairs, no?). And clients generally just look at us all blankly when we bring it up. With all this vaguery and confusion it's no wonder that solid concepts are about as rare as an honest politician these days.

A definition that actually means something

Essentially, a concept is the intellectual construct that binds the visual and verbal elements within any given design piece. Another attempt at definition, no less esoteric: a concept is the organized structuring of relevant themes that guides the visual and verbal components in a physical piece. Does that help?

If the intellectual construct is shaky - that is, if the pieces of the puzzle don't fit logically together in some way, the concept is weak and the viewer is left either confused, or simply uninterested. It's easy to create those kinds of concepts, and writers and designers churn them out every day (often encouraged by marketers, receptionists, and the boss' spouse).

But when a concept logically links the various intellectual and physical components of a design together, and manages to add a cognitive twist that stimulates the brain in some way (forcing the old a-ha, or double-take), we can reach conceptual nirvana. Or at least, we're likely to give the design more of our attention.

An example, please

Of course, this is all a lot of theoretical hooey, and like a lot of other theoretical intangibles, concepts are often subject to the "I'll know it when I see it" rule of understanding. So let's try it: I stumbled across a brilliantly concise design concept while perusing the AIGA Design Archives this weekend. This is a promotional mailer (a postcard, ostensibly, or brochure), designed in 1962, for a photography company. Ready? It's really quite subtle (or, as I like to call it, elegant):

To Be Taken As Directed, ad by BBDO/Arnold Varga/Federman, Adams & Colopy

The concept: the photography company as remedy for what ails you. This is largely a copy concept, in that the kicker - the element that provides the a-ha moment - is the tagline "To be taken as directed." The visual cues - the medicine bottle and prescription label - support this copy, but it's the copy that tells us everything we need to know about the company via the metaphor of prescriptive medicine.

This particular concept relies on a double meaning: the tagline uses a familiar phrase in medicine, to be taken as directed, and places it within a photography context, thereby adding another layer of meaning: the company's work is custom-made to order, giving the client exactly what it wants. If you've ever tried to purchase custom photography, the ability to handle art direction is fundamental; this ad speaks perfectly to its audience, using a concept that delivers the point clearly, and amusingly.

How clients can help feed concepts

Designers and copywriters don't just magically pull a solid concept out of thin air (well, the good ones can in a real pinch and for a grossly inflated sum of money). In order to produce solid concepts, creatives need information on which to build their conceptual sandcastles. This means spending time with clients before any creative work actually starts. Any number of things can trigger a good concept:
  • Client personality or brand persona
  • Client goals, vision, and values
  • Audience demographics, needs, aspirations, or values
  • The nature, production, and delivery of product or service offerings
  • Cultural contexts and current events
  • Psychedelic drugs (okay, probably not)
Designers and writers new to the trade often make the mistake of accepting what the client tells them in the first conversation, and then hitting the sketchbook. But a good creative has to ask a lot of questions first - they need to populate their mental page with lots of dots. Only when they have enough information can they create a conceptual form that makes sense; connecting the dots, as it were.

So, if you're a designer or writer: don't be afraid to ask questions. Ask strange questions. Take a ton of notes. If you're a client, of course, be willing to answer questions. Be willing to share details, tell stories, and generally spew as much information into your creative's lap as you can muster. In the end, clients and creatives share the same goal: to produce stronger work. And without a good concept, the work just won't work as hard.

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Visualizing the Truth
Not a new project, but a great way to kill your Friday morning:

Index card infographic explaining the difference between kids and parents - from Indexed.com

[visit Indexed]

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Nonsense Infographics by Chad Hagen
There are some of us who get pins and needles from good-looking infographics. These nonsense infographics from Minneapolis-based designer Chad Hagen might make my head explode. Meaningless, yet awfully nice to look at:

Nonsense infographics by Chad Hagen

Check out the whole set on Flickr - it's worth it.

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The Implications of Creative Frameworks
"For an artist, rhythm arises from the tension between regularity and irregularity, monotony and variety. Just as the predictable recurrence in pattern is a pleasure, departures from it also give pleasure, particularly when the departure has an aesthetic motive, when it adds to the 'information' we are receiving."

—Alfred Corn, The Poem's Heartbeat
It's not just pleasure we get from well-constructed rhythms (whether verbal or visual); we get meaning, too.

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Guest List at Blogs.com
I was recently asked to provide a guest "Top 10" list for Blogs.com. I went ahead and provided a somewhat theoretical list of "Ten Blogs That Explore the Reality of Your Surroundings."

Rather than focus on strictly design or business blogs, I wanted to highlight some of the blogs I read that regularly make me do a double-take. Hopefully, this list will give you some good ideas, make you question some stuff you thought you had figured out, and generally provide a second look at the mundane world we walk through every day.

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Sustainable Design Town Hall: Sharing Good Ideas
Collaboration is one of the fundamental pieces of a functional design industry. It also happens to be one of the fundamental pieces of sustainable progress. In order to take positive, measurable steps forward, designers need to come together to identify relevant problems, brainstorm new ideas, and troubleshoot potential solutions. And that's what some of us did last week at Lunar, the hosts of a Designers Accord town hall meeting here in San Francisco.

A huge nod goes to Vanessa and the Lunar crew for creating a really successful, open atmosphere for idea sharing. Five of us spent 5-10 minutes each presenting a different idea to the group of about 20 fellow designers and educators. No specific theme, just idea sharing.

I spent my time mostly asking questions, of course. As I told the group, I'm currently helping a couple of different groups develop certification standards for graphic designers and their projects. I've been tapped by Eric Benson of re-nourish and Yvette Perullo of Rethink Design to provide input on a responsible design protocol. The protocol is a three-tiered certification system (partially modeled on the LEED system), intended to provide designers and clients with a rigorous framework for evaluating print design projects. We're also working on a studio-level version, which is where most of my work is being done. Simultaneously, I'm providing similar recommendations to the San Francisco Green Business Program for their design studio guidelines.

Developing these guidelines poses a significant challenge on many levels, and I'll be discussing those in another post soon enough. But last week's presentation, and the ensuing discussion, allowed me to get valuable input from other working designers, which will only strengthen the final recommendations. Folks raised questions, challenged my assumptions, and provided great ideas for improvement. Most of all, I was surprised by how generally open to certification they were. Perhaps it was the knowledge that such a program was being developed with genuine consideration for the limitations and challenges it will face.

There were some really cool ideas passed around by the other four presenters, too. Throughout this week, I'm going to post about each of them, so be sure to tune in (or subscribe to the email feed).

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Playing for Change
This is one of the coolest projects I've seen so far.
"Four years ago while walking down the street in Santa Monica, CA the voice of Roger Ridley singing "Stand By me" was heard from a block away. His voice, soul and passion set us on a course around the world to add other musicians to his performance. This song transformed Playing For Change from a small group of individuals to a global movement for peace and understanding. This track features over 35 musicians collaborating from all over the world. They may have never met in person, but in this case, the music does the talking."
Sounds great, and the music they produced was pretty great, too. Too bad they're more concerned with selling stuff than providing useful information about the project. Not sure why this is rubbing me the wrong way - oh yeah, because they had a great site going, with a clear message that explained themselves, their project, and those involved. Now the original site is a friggin' t-shirt store, and if you want any details at all you have to dig. This isn't rocket science, folks: give the people what they want. All seems well again; perhaps a site redesign snafu of some sort?

Visit Playing for Change. Or, if that link gets wonky again, the videos are also available on YouTube.

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CompostModern is this weekend
For those of you in the San Francisco Bay Area, don't forget about AIGA's CompostModern conference coming up this weekend. I'm looking forward to hearing the likes of Joel Makower, Nathan Shedroff, Eames Demetrios and others discuss sustainable design solutions. I am, however, a little worried.

compostmodern 2009 conference - sustainable design

Perhaps I'm too cynical for my own good, because I find myself worrying that it's going to be yet another green design pep rally. There is certainly real value in waxing poetic about be the change, but I'm getting antsy for some really grassroots impact in this industry. I get worried that the freelancers and indie studios across the country—the ones who can't or won't afford an AIGA membership, or whose local municipalities don't even have a public recycling initiative—are being left out of the conversation.

CompostModern may be different, though. First of all, it's cheap. That's important because there are already far too many overpriced, corporate-driven, trade showesque sustainability conferences out there. We need to make the barrier for entry into this green design conversation much lower if it's going to spread. Students, for example, can't drop $1k+ on some business conference just to be exposed to the movers and shakers (there shouldn't even really be any movers and shakers in a movement like this, but that's probably far too much to ask). And students are the ones who need to carry the torch.

Second, it's bringing in speakers from outside the design world, too. That's important because we designers often get to thinking that we're either more powerful than we are, or not powerful at all. Bridging the gap between design and business—developing more integrated systems and industries in this country—is pretty much the only thing that's going to allow sustainable design to infect mainstream culture.

I've seen some of these folks speak on the subject of sustainable design before. Dawn Danby of Autodesk, for example, and John Bielenberg of Project M. As someone who's already pretty well entrenched in the concepts to be discussed, I wonder how deep these speakers will really go. Or are we going to be wowed by the latest big-budgeted design "innovation" once more? Will there be clear, specific next steps offered to the audience, or will we be left to pat each other on the shoulder just for showing up? And who, exactly, will be attending?

And these, at the end of it all, are the people I really want to hear from. The audience. What will we take away? What will we do afterwards? What will change? I have a few ideas, but for those you'll need to stay tuned.

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Nina Simone: Feeling Good
Text-based videos and ads are all the rage right now, but this is by far one of the best I've seen to date. Of course, Nina Simone makes me weak in the knees, so that may explain the warm glow this gives me.




[via Infosthetics]

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Graph Paper Napkins
Okay, I was thinking the first post of 2009 would be some profound preface to the new year but then I saw this and figured what the hell. These graph paper napkins are the perfect doodling surface.

graph paper napkins

Available for purchase at Up to You.

[via Better Living Through Design]

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Kim Rugg: Don't Mention the War
“What really interests me is how when I remove the message—the news—I am left with the messenger. The process brings this messenger to the foreground. The ‘personality’ and character of the paper is therefore amplified.”

Kim Rugg: Don't Mention the War

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This Is Where We Live: In a City of Books
Created for UK publisher 4th Estate, this film is utterly engrossing—at least for book nerds like myself.



This kind of time-lapse video takes infinite patience, and serious set-making skills. The video stills below show the level of detail involved in each frame (more production photos can be found on the film's site).

Apt Studios' production still for 'This is Where We Live' film for 4th Estate publishers

Apt Studios' production still for 'This is Where We Live' film for 4th Estate publishers

Apt Studios' production still for 'This is Where We Live' film for 4th Estate publishers

Apt Studios' production still for 'This is Where We Live' film for 4th Estate publishers

Apt Studios' production still for 'This is Where We Live' film for 4th Estate publishers

Cheers to Apt Studios for such incredible, meticulous work.

[Via notcot I think]

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No on 8: The Musical
Too bad the original No on 8 campaign wasn't this well choreographed...

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Thanksgiving
Fifty People, One Question:


Fifty People, One Question: New York from Crush & Lovely on Vimeo.

[via SwissMiss]

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Show/World: An Interactive Map
Here's a really cool map in which countries change size to reflect their role in various global issues, including GDP, legal execution, tourism, Olympic gold medalists, and more.

Show/World interactive map

[via worldchanging]

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Skull City
You probably (hopefully) know all about Skull-a-Day by now. My buddy Noah Scalin, of Another Limited Rebellion, spent a full year creating a...wait for it...skull a day out of every conceivable material under the sun. The dedication paid off, because he's now released Skulls, a collection of some of his favorite examples.

'Skulls' book by Noah Scalin

On first glance, the book is what it is: a simple collection of one skull after another. But as you start to flip through the pages, each work of art reveals something new about its subject, each material presenting a completely different face. The food skulls are somehow particularly revealing, the skins and flesh of squashes and pepper (and in one case, an entire salad) giving an odd life to such static matter.

Skull-a-Day bell pepper skull by Noah Scalin

It's hard to pick favorites from this book, because there are so many incredibly revealing pieces. I'm particularly drawn to the seemingly simplest ones, like the hotel bed sheet skull, stapled leaf skull, and caution tape skull.

Skull-a-Day stapled leaf skull by Noah Scalin

Skull-a-Day caution tape skull by Noah Scalin

One facet of this project that doesn't get mentioned nearly often enough in all the press Noah's received is the artistry that threads its way through this collection. He clearly takes his cue from his materials, but still manages to give each skull its own personality, shape and even expression. As Martha herself noted when he crashed gracefully appeared on the Martha Stewart Show, knuckle tats and all, that's a good thing.*

As an aside, I owe Noah a thanks for his recent listing of Roughstock's Blog as one of the top 10 blogs covering the intersection of design and activism. He put me among some very good company. Thanks, Noah!


Skull-a-Day drizzle skull by Noah Scalin


Skull-a-Day feather skull by Noah Scalin


*I don't actually remember if Martha said this to Noah during the show; she was probably too busy interrupting him. But nevertheless, he was on the frigging Martha Stewart Show making skulls with her.

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Beth Schuenemann
A couple of weeks ago I featured several artists whose work I got see at the Art Explosion open studios. Beth was one of them, and she's provided me with some images so I can share her work with you. She does really graphic urban landscapes—the style perfectly captures San Francisco and its architecture in way that photography just can't.

Beth Schuenemann painting


Beth Schuenemann painting


Beth Schuenemann painting


Beth Schuenemann painting

Check out more of Beth's work in her Art Explosion profile.

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Studs Turkel, 1912-2008
"My epitaph is, curiosity did not kill this cat."
Studs Turkel: 'Working' book cover

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Butch Cassidy and the Sundance Kid
"I don't know why it was that people liked it. The only reason movies are successes is because people like them, and the only reason when they're failures is people don't like them, and everything else is mythology."

—William Goldman, writer (speaking in The Western, 2003)

Mythology is used to explain a lot these days.

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Art Explosion Fall 2008
Twice a year, the Art Explosion Studios in San Francisco open their doors for a mass art show featuring their tenants' work. You get the opportunity to take in a huge variety of art in one place, and to talk to the artists themselves about their work and process. This is a quick recap of just a few of the artists that really stuck with me this weekend.


Keith Gidlund

By far my favorite of the show, but I'm a sucker for black and white photography. And shot with a Holga, no less. Keith was showing a wall full of this work, which focused entirely of natural landscapes. Not only does the circular framing amplify the organic shapes within the frame, it combines with the black and white medium to create an almost scientific specimen-like effect. It's beautiful work, almost breathtaking.

Keith Gidlund photography

Keith Gidlund photography

Definitely explore his website, as he has several sets of images that are stylistically very different from each other. His sweeping horizons and transparent collection are worth a look-see.


Ken Hay

I am not typically drawn to work like this, but something about it stopped me in my tracks. This little red house kept making an appearance, often in multiplicities, throughout Ken's work, only to end up in flames in his recent drawings. The meticulous geometry of his pencil lines frame a weird sort of chaos. All in a folk arty, colorful vernacular that normally turns me off but this time around pulled me in.

Ken Hay painting 'In the Mind'

Ken Hay painting 'Get In Line'


Artists without Websites

Sophia Antipas: A great eye for outside space, architectural and organic details, color.

Don Ross:
Not a lot on display, but my favorite was a large-size drugstore diptych of a young boy (kid) and woman.

Beth Schuenemann:
The woman I came to see. Really graphic, colorful paintings of San Francisco buildings. I'll get my hands on some of her work and post it soon.

Britt's Baby:
Yes, it's wicked corny, but Beth's coworker Britt had her baby with her and the kid was a work of art. Four weeks old, tiny, and very, very serious. Honestly, she looked a little intense. Like, don't mess with me tense. But in a sweet, new baby way.

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Illustrator Sac Magique
This is some really fun work from Helsinki artist Sac Magique! Illustration skills are my weakness—I just seem to have a much better grasp of lines and and shapes when they're in letterform. But even still, sometimes when I write, I feel like this:

Illustrator Sac Magique print titled 'Qwerty'

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Paul Newman, The Epitome of Class: 1925-2008
He was smiling... That's right. You know, that, that Luke smile of his. He had it on his face right to the very end. Hell, if they didn't know it 'fore, they could tell right then that they weren't a-gonna beat him. That old Luke smile. Oh, Luke. He was some boy. Cool Hand Luke. Hell, he's a natural-born world-shaker.
A few of my favorites:

Movie Poster: Paul Newman in Cool Hand Luke

Movie Poster: Paul Newman in the Sting

Movie Poster: Paul Newman in Butch Cassidy and the Sundance Kid

Movie Poster: Paul Newman in Slap Shot

Movie Poster: Paul Newman in the Hustler

[Full obit, NY Times]

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I've Found My Prince Charming
Mikael Alacoque is responsible for a "playfully sinister bastardization of familiar objects":

Artist Mikael Alacoque's resin dog sculpture

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Images I Grew Up With: Tomi Ungerer
I am lucky to have grown up with a designer father and a reader mother; one of the first books I remember pulling down from the lower shelves as a tiny rugrat was something about architect Adolf Loos. I was hooked. I practically ate books for breakfast.

Beyond the words I took in, I'm thinking about the visual language that was taught to me back then, and how that language still knocks around inside my head—the colors, the shapes, the sheer bizarreness of the tales told in ink and paint. A lot of it was dark (which explains an awful lot about the other stuff knocking around inside my head), and a lot of it was utterly earth-shattering to my little brain.

At first I was going to just list a handful of these artists as a sort of stroll down memory lane, but I want to share too many images for a single post, so I'm doing this series-style. It only seems fair to provide some sense of the breadth of each these artists; each image, each book, builds on the next, stringing together an entire world in just two dimensions. Let's start with Tomi.

THE UNDERGROUND SKETCHBOOK OF TOMI UNGERER
This book, together with Osborn's the Vulgarians, permanently scarred me for life. I knew they were dangerous when I was reading them, long before I had any idea what they meant, just from the style of illustration. Of course, the sexually explicit imagery had something to do with it, too. The Underground Sketchbook (and other works, like The Erotoscope) seemed to channel all the cynicism and human ugliness that he left out of his children's books and even commercial advertising. Of course, that's not entirely true; his children's books did hint at the darkness and depravity of humanity but, y'know, for kids. The following few images, some of the mildest in the book, are from the copy of the Sketchbook that I permanently borrowed from my parents' bookshelf (it was published in 1964).

Cover image of Tomi Ungerer's The Underground Sketchbook

Image from Tomi Ungerer's The Underground Sketchbook

Image from Tomi Ungerer's The Underground Sketchbook


CHILDREN'S BOOKS: MOON MAN
Remember those individual film strip players in your grade school library? You'd check out the player at the librarian's counter, choose your film strip story (which were almost always the same selection throughout the year), and then find the furthest-away cubicle and try desperately to load the strip properly. Finally, you'd slide the cassette tape into the slot, align the strip with the sound, and off you'd go. The narrator would read a page of the book, then you'd get the beep (always too loud), and you'd roll the film strip forward one frame. This was how I read Moon Man. It always made me horribly sad to think of such a lonely, lovely figure so alienated from the world around him. Ah, childhood...

Image from Tomi Ungerer's book, Moon Man


CRICTOR
And then there was Crictor, a light-hearted tale of an old woman and her hero snake.

Image from Tomi Ungerer's book, Crictor


NO KISS FOR MOTHER
I feel guilty to this day for loving this book so much (sorry, ma).

Over of Tomi Ungerer's book, No Kiss for Mother

Image from Tomi Ungerer's book, No Kiss for Mother


And here, finally, is the man himself:

Tomi Ungerer

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