Friday, January 6, 2012

Slurp TV

My wife and I found something really special late last night...
SlurpTV, a Barcelona-based “motionagrapher, video-jockey and wastingtimer” makes (among other things) promo videos for a club-night in Barcelona called Nasty Mondays.
My wife and I are both products of the 80s, and so a lot of the content in these videos is nostalgic. But the video-compositions by SlurpTV are also a reminder of just how bizarre, decadent, and visually shocking 80s culture was. Take a few minutes to watch. They are mind-blowing.
Period typography and design is difficult to achieve successfully. And the more recent the period, the harder it is to do, because the references are fresher in our consciousness.
But SlurpTV is nailing the 80s, yet in a way we haven’t seen before. Enjoy.





Tuesday, January 3, 2012

The Visual Void

More than a year ago, I had a chance encounter with a guy named Kurt Thometz. There’s more on that here.
While we talked about reading, typography, printing, and other associated topics, we got on to the subject of orality. More specifically, the ideas surrounding orality and literacy. Orality is difficult to define, but loosely, it represents the human concept of a pre-literate time — a time before we had a written language. There are still cultures, usually labeled primitive, that do not write, or read. But they communicate. They transmit thought to one another.

    

In our modern time, it is of paramount importance to be familiar with the way that computers work, or at least, how to work with them. As a not-so-distant parallel to that, we must be literate. We must know how to read; and how to write. These are standards in order to be considered an educated person. So, it's strange to consider this dichotomy of orality and literacy, because we see literacy as an obvious advantage. And of course it is. As a designer and typographer, and a largely visual thinker, it is difficult to imagine the world without written forms of communication.

But were our minds better when we didn’t have the chance to rely on something being written down somewhere? The only reason to consider this is to get closer to understanding how we think. And how our human thinking has changed over the millennia. It is highly unlikely that we will ever return to a time where we can only communicate non-visually. Or to put a sharper point on it, without letters and words. Ray Bradbury captures this well in Fahrenheit 451° where he suggests the idea of texts being memorized by different individuals, and those individuals serving as vessels to bring fragments of human thought forward in a new oral tradition. For example, I would memorize the short story The Dead by James Joyce, and that would be mine to protect. I would know every word, and make sure to pass it along to someone younger, someone committed, who would then, in turn, carry it into the future...

Kurt suggested several books to me — one of which I am finally reading now. It is called The Muse Learns to Write by Eric A. Havelock. Another is by Havelock’s predecessor Walter J. Ong called Orality and Literacy. And of course, there is the seminal Gutenberg Galaxy by Marshall McLuhan. There are many books on these interrelated subjects of thinking/writing/reading, memory, information retention, the development of communication technologies and their effects on the trajectory of human thought.

Essentially, we began to speak to one another. Then we learned to write things down. Then we needed a better way of dispersing the written things. Scribes could only accomplish so much and so, the printing press was invented. Printing presses, their relative speed, and quantity-of-output has increased over time. And now we have the internet as our publication tool. But, as these technologies have rushed forward, what has happened to our brains?

It is worth taking the time to think about this. It is worth imagining a time where we interacted, our bodies and ears and eyes moved from place to place, we spoke to each other and listened. We listened to stories, and we retained information — because we had to, because our memories were all that we had.

(The images above are from Jean Clottes’ book Return to Chauvet Cave. 35,000 year-old cave paintings were discovered in Chauvet Cave in 1994, making them the world’s oldest. The story of their discovery is well-documented in a beautiful film by Werner Herzog called The Cave of Forgotten Dreams.) The drawings are mind-bendingly beautiful — shaded, overlapped, and illustrating movement in some cases — a distant precursor to Duchamp’s Nude Descending a Staircase.

Monday, November 14, 2011


Of the 3 classes I teach at the School of Visual Arts, some of the more profound awakenings are in my second year typography class. With little background in design, students start to encounter the vast realm of expression offered through the lowly letterform. It's a strict course—intended to be meditative, and designed to create many quiet moments where students ponder the nuances of what make typographic expression so powerful and important.
The below represent some of the more successful executions for a unique project where students are randomly assigned both a well-known musical act, and a famous designer from 20th century history, then must synthesize their characteristics into a 12" record cover.


Jenny Wu designed this Neil Young 12" via Jan Tschichold


Heesang Lee's design for an Otis Redding 12" inspired by Bruno Monguzzi




Christopher Eustaquio's rendering of Led Zeppelin's untitled 12" in the style of Wolfgang Weingart

Sunday, May 1, 2011

Message


President Obama at the 2011 White House Correspondents' Dinner
Directly at the end of a comedic thread about the presentation of his birth certificate, Obama shows his "secret birth video", a sequence sampled from Disney's The Lion King, where Simba is presented to the animal kingdom.
youtube video at 3.23-3.24 min.secs (see the above typography flashed). It's hidden, being flashed for just a millisecond. But, given our heightened sensitivity to messaging, and our ability to parse high-speed information, it seems downright overt.

Sunday, November 14, 2010

Gilbert Lesser did a lot more with very little.

Tonight, my wife and I watched 3 Days of the Condor. This movie has been held quite high over the years, but didn't do much for me. And this isn't a movie review, just an introduction. In one of the later scenes in the movie, Robert Redford takes leave of Faye Dunaway, and as he jogs away across the darkened street, an amazing poster comes into focus. So I began researching who designed it, and discovered a designer I've never heard of. And shame on me for it, because Gilbert Lesser's work is incredible! And now, of course, I know who designed the Studio 54 logo! I've tried to assemble my favorite pieces of his work here — from different spots online as well as the AIGA archive (which was a major source). His letterhead! I'm amazed!












Saturday, November 13, 2010

The General

Recently, I had the great experience of connecting with John Kealey (an old friend from college days) when I was on a business trip in Ottawa. While we've been in periodic contact for the past few years, we hadn't REALLY spent time together in a long while. John has always been a talented photographer, but hearing about how he has made his talent a reality in his life was profound.
The best surprise of all came after dinner when John brought me to The General, the photo studio and creative center he shares with his business partner, Chris. It's an old market that they have taken over, and completely overhauled and it's beautiful. The spare warmth of the elegant lighting and carefully curated series of objects gives the space a sense of wonder and great feeling of creative potential. I happen to also love the custom drawn logo, courtesy of DressCode in New York.













Wednesday, February 10, 2010

Black Magic

During the darkest period of my life to date, and by a strange twist of circumstance, I had the delightful experience of staying at a bed & breakfast in Harlem. Strange sentence. It was under a shroud of sadness that I came to stay at this bed & breakfast, but the time there was irreplaceable and meaningful in many ways -- not least because of the swell guy who rents out the bottom floor of his brownstone as an apartment for visitors, which also houses his unbelievable bookstore, open “by Appointment, Invitation or Serendipity.” On 160th street between St. Nicholas Avenue and Edgecombe, just west of the Harlem River, sits Jumel Terrace Books, at the peak of the cobblestone street. Directly across 160th rests the stately Morris-Jumel Mansion (the oldest house in Manhattan) where George Washington was headquartered for September and October of 1776.
Jumel Terrace Books is owned and run by Kurt Thometz, a scholar, collector, and enthusiast of African and African-American literature. Beyond that, he is an expert on a wide berth of philosophy, but has a keen interest in the human transition from orality, to illiteracy (which is a concept in itself) and through to literacy and our modern ways of thinking, communicating and transmitting thought from person to person.
During our two days staying with him, effectively living in his bookstore and sleeping in the beautiful basement apartment in the next room over, he was kind enough to show us around Harlem, teach us a great deal about its history, and he spent hours talking with me, recommending literature, music, and relating stories from his life’s-wealth of experience.
While there, I was so taken by all of the book covers and art around us, I had to capture as much as possible. Many of the following photos are grainy, but were the best I could do in the half-light of the bookstore with a borrowed iPhone. The images start from the street, looking into Kurt’s bookstore at night...