‘rare Belgian newspaper article on the publication of Jan Tschichold’s ‘Typografische Vormgeving’ (unfortunately no information on the name of the newspaper nor the date)’

Found via typojo

It’s interesting how celebrity works.

I’ll often bring up Stephen Fry in the classroom (and mention his incredible Gutenberg documentary for the BBC) but very few students have heard of him. Then I mention Hugh Laurie and House, then draw the connection to Fry and Laurie and – just let things happen.

(I also think Laurie should have played Archer on the Star Trek prequel series, but what do I know)

Designer Matthew Rogers took Fry’s comments on language – which has this wonderful way of evolving – and made it visual (above).

I am currently working on a project where I’m screwing with language for fun. Google Translate is a great video game, no scores or explosions (unless you look them up); but always fascinating results.

Found via Upworthy

Words and pictures by Grant Snider.

‘So just as we change as we grow up and our bodies, opinions and tastes change. This is Time. This is Life. They are defined by Change. So Change is inevitable, its outside of need or necessity. It just Is.’

The images (and words) are from this wonderful post over at the Alias blog: Why new typefaces? Alias is run by David James and Gareth Hague.

In my opinion/experience, we’ll stop having a need for new typefaces right about the time we stop wanting new music, new food ideas (I’m hooked on detox water right now) and new ways of looking at how we dress ourselves.

Types have personality, just like humans. Take it all away and we become  . . .  Helvetica. On a Star Trek planet where we all look, think and dress alike.

Type is everywhere. And humans like to mess with shit.

via Alias

In 1998 I attended this over-the-top crazy creative conference in San Francisco.

It was called FUSE: Beyond Typography and it was a Neville Brody gig, named for his font magazine. The whole shebang overstuffed itself into San Francisco’s Masonic Center on Nob Hill. And what happened inside was really ‘beyond typography,’ in that the typophiles I knew were complaining where’s the type? It made sense. It was BEYOND.

It was many days. I think a week. Maybe a month, a year? I don’t remember. Nob Hill is up in the clouds, which was fitting. But what I do know is the speakers – which ranged from budding architects Zaha Hadid and Michael Sorkin to author Karrie Jacobs and a slide show from soon-to-pass-on Tibor Kalman – left me recharged about graphic design and what a real creative can do.

Then, turned out the week of FUSE Phil Hartman died.

And

2001 changed everything.

And the economic disaster that followed also put a lot of creative plans on hold. I quit my corporate job right after FUSE and moved on to more meaningful work, eventually landing in teaching. I kept doing the fun work, but bread-n-butter work started to take over. Survival became more important as creativity was pushed aside.

In 2007 I left my position as president of the Art Directors and Artists Club of Sacramento and from a distance, saw it shut down early 2012. BUT I did remember the spark of FUSE (which was a money-loser for the organizers) and kept side projects going. I started this very blog, released a few fonts.

Mike Monteiro: ‘never work for someone you can’t argue with’

Last year TYPO came to San Francisco.

And turns out – TYPO is a smaller FUSE. Same group, been around a bit longer, but leaner. Two days of great speakers – Tina Roth Eisenberg, Jessica Hische, Jim Parkinson, Rod Cavazos, the snarky Mike Monteiro and the crazy colors of Morag Myerscough (we compared nail polish, clothing) – with last year’s event punctuated by a keynote by Neville Brody with emphasis on how all of us sort of dropped the ball on creativity since 1998. It is important to make time for play. Difficult play, going forward. Making what’s next.

This year’s TYPOsf: CONTRAST starts tomorrow. I’ll be tweeting live. And planning my next move.

Modern graphic design has roots in Russian Suprematism and Constructivism. Here’s a trailer for a film by Sergey Shanovich that looks at what’s been happening since.

Facebook page here.

Found via Motioncollector

Modern Dog recently created this poster for Sunday Rock, a music school in Yekaterinburg, Russia.

And I provided Robynne and Co. some quick Cyrillic type the old fashioned way: Scanned in from early 20th Century sources, pieced together letter by letter.

Four different scripts combined to have similar weight, rough edges, heavy caps. I’ve been doing a bunch of work this way lately – sometimes one has to go back to basics.

And on weathered days (like today) vinyl sounds better than digital.

I will be giving a talk on April 19 at American River College. Covered will be the history of the Bauhaus (1919-33).

And as an add-on, I’ll be subtly previewing how the Bauhaus, Futurism and early Modern Art has inspired my new educational project, FLomm: THE BATTLE For MODeRN 1923 (which already has a tumblr presence here and twitter here).

For additional information, please visit the Art New Media at American River College Facebook page here.

‘The whole point of animation to me is to tell a story, make a joke, express an idea. The technique itself doesn’t really matter. Whatever works is the thing to use.’

Terry Gilliam on animation. From 1974.

Found via Cartoon Brew

Andrea Stinga and Federico Gonzalez’s The ABC of Architects.

Visit their architectural tumblr here.

If there were in the world today any large number of people who desired their own happiness more than they desired the unhappiness of others, we could have paradise in a few years. –Bertrand Russell (1872-1970)

Years ago I knew a head general counsel who worked for a legal department for a rather large corporation.

When it came to lawsuits, he explained to me that their approach was they ‘never settled’ and ‘would use all of our resources – millions of dollars at our disposal’ to fight any suit that came in. Whether they were right or wrong. “If they’re going to go up against us, that’s what they’re going to get.’

Years later I sat in on a ‘business ethics’ class where this ethic was explained in detail: ‘it is okay to destroy the competition. That’s good business ethics.’ And throw in that businesses today operate to ‘keep shareholders happy’ over everything else – we live in a very frightening world. One that squashes innovation and creativity in favor of ‘good competition.’

Good competition is fantastic – when the tables are ‘fair and balanced,’ a term – even today – that’s not used for what it actually means. There’s a lot we CAN be doing as a race – in terms of social, political and humanitarian causes – but we don’t. There’s a great scene in An Inconvenient Truth where Al Gore points to an illustration of a pot of gold. It’s our motivation. It’s what we live for. A pot of gold. A shiny pot of gold we can hide from others, shower with, rub on our bodies if it makes us feel better.

the battle
Right now there’s a David v. Goliath lawsuit going on. It seems simple open and shut: Large corporations profit from stolen artwork. So artists who created artwork get a lawyer and take on the corporations.

In this situation, the corporations are our darlings: The fantastically wonderful Disney and the ‘god I love what they do for design’ Target. And I spent an afternoon recently going thru the case files – which are posted at Friends of Modern Dog – and to me it seems it’s another bury the little guy response.

You’d think it would be Urban Outfitters doing this – it IS their modis operandi – but no. It appeares Disney and Target are poised to destroy Seattle’s very own Modern Dog.

Ashamed is not a word I use much. Though I think it applies here: BOTH Disney and Target should be ashamed. They are BOTH corporations that benefit from creative innovation. BOTH should be working WITH Modern Dog, not – as this lawsuit seems to be doing – putting them out of business  . . . 

Friends of Modern Dog website – donations are wholehartedly accepted, even a few bucks will help. Donate here.

bias
I will admit – I am a huge fan of Modern Dog. I can actually remember the first time I ran across their work – back in the early 1990s. I was flipping through a graphic design magazine and saw that there was this cool company in Seattle – tied to Seattle’s burgeoning music scene – that had not one, two or three BUT an entire tabletop covered with LOGOS. They are a creative juggernaut – one innovative piece after another. And in my view one of Seattle’s greatest design resources. I’ll even go so far as to say, they put Seattle on the map for me. I spent my honeymoon in 1995 in Seattle – not because of Modern Dog per se – but because I knew Seattle was cool.

the suit
So if one takes it apart: What it looks like is someone working for Disney thought it would be cool to lift images from Modern Dog’s 20 Years of Poster Art. They used it in a retail piece, a tee-shirt to promote an Ashley Tisdale film. Flip the images, no one will notice (see video up top). Well, someone did notice. And Modern Dog found itself defending their handdrawn illustrations of their own dogs.

What happened next was unexpected, the defendants fired back. Detailed legal jargon is the response. With a huge legal price tag. Modern Dog owners Robynne Raye and Michael Strassburger so far have sold their house to pay for things. Good press is on their side. Robert L. Peters has a great overview here. Though at this point, a settlement doesn’t seem to be in the picture.

the obvious solution
Years ago the Head General Counsel I knew also explained one more thing about business ethics to me: if someone fucks up, they should be responsible. Whoever did this – in whatever relationship to Disney and/or Target – is the plagarist. THEY caused this lawsuit to take place, THEY stole the work. Disney and Target – should do the right thing:

FIRE the plagarist, go after them for legal fees – and SETTLE with Modern Dog.

Disney and Target: It’s the RIGHT THING to do. Pretty sure you can afford this.

You guys are supposed to be doing the RIGHT THING. I remember a whole LOAD of Disney films thrown at me just about this very concept. Why is your legal department thinking otherwise? Especially after such a good PR month where you (Disney) now own STAR WARS because George Lucas thinks you guys are on the up and up. And he turned around and donated your money to education.

how to actually steal from modern dog
So I train graphic designers – on the fine art of inspiration over stealing. It’s a simple concept: using someone else’s artwork without permission is stealing. Getting inspired by others and bringing something new to the table: NOT stealing. Inspiration. In this case, Disney’s artist should have DRAWN THEIR OWN DAMN DOGS. It’s that simple.

Modern Dog inspired something I did recently: a simple logotype (above) for an animal shelter just south east of Seattle (opens January 2013). Since, for me, Seattle/Washington State is Modern Dog territory (a dog reference, of course) I decided to thumb thru Modern Dog’s wares to inspire me on how to approach the ‘dog/cat’ cartoon creature I came up with. Is it a direct copy from them? No. It’s my own thing. Simple, with a touch of empathy that I believe animal shelters need – beyond the ‘heart/paw’ thing most are doing. (And the type is modified Sutro, Jim Parkinson’s wonderful humanist slab serif.)

Dogs are cool. Modern Dog is cool. Be inspired by them. And help them – they need a few bucks. Donate here.

‘As a student, live by these words, ‘Quantity rather than quality.’ The more you design the better your quality will become and you will continue to grow’ –Tony Montano

I like that quote.

Quality does come later. Being a designer becomes all about instinct – not having the best computer, not software, not measurements, not rules.

I’ve just started teaching another semester of Graphic Design History and Typography at American River College – have a whole new group of kids to introduce to my gospel of visuals.

One thought that’s been weaving its way thru my classes over the years is simply, ‘the more you do, the better you get.’ We’ve all heard this, and yeah, it’s true. The only real stumbling block is ‘the more you do, if you’re not paying attention, you probably won’t get better.’

This year the student work has been incredible – but only when tied to good, old fashioned Hard Work. Risk taking, going out on that edge, trying something one has never done before leads to fantastic creations.

I haven’t been blogging much – I also have my usual four type classes at Ai Sacramento and a rather large project that’s been taking up the rest of my time (more on that soooooon) – so something had to give. It was blogging.

I’ll be posting more as time permits; otherwise been immediately throwing finds up on my Twitter account.

I’m keeping busy. Hope you are too.

Infographic found via Ai Sacramento Graphic Design; click image to jump/view larger

Here’s a roundup of advice graphics.

I’m always frustrated when beginning students give up prematurely, when there are those who see being ‘creative’ as either a job or something not important and/or not realizing the more a creative works at what they’re doing, the better they will get; collaboration is great, rules get in the way, others will never understand you and that’s okay, work should be fun (especially hard work), breaks are important and a zillion other things.

Click to view larger/jump.

Found via hyenabonz

Many creatives are introverts – some famous ones include J.K. Rowling, Eleanor Roosevelt, Clint Eastwood, David Letterman, Howard Stern, Steve Martin. The trick is most introverts are annoyed just enough by the banalities of everyday societal demands that one typically doesn’t want to get bogged down by the bullshit. Introverts have important thinking to do – typically, introverts are out to change the world in one way or another.

There’s a graphic that’s been bouncing around the interwebs (below) that doesn’t quite hit the mark. Shyness is something totally different.

Above, a list that nails it (and yes, the type is stretched. Typographers: Deal.) – it came from this cool post. And here’s an article with more detail (book available too).

When I’m in quiet mode, I’m busy. Then I come out and play when in a classroom or social situation. Even though the second part is a learned behavior, it is also quite fun and a great balance. Wouldn’t change it for anything.

Bullshit

Found via Lindsey, Jes

‘Perfectionism is exhausting’

I’ve watched my students push themselves so hard to get an ‘A’ that they’ll overlook what it really takes to come up with creative work.

Here’s another take on the concept – by author Michael Nobbs, with a pitch for his book Sustainable Creativity.

‘Creative people across all genres, it seems, have this reputation for being enormously mentally unstable  . . .  [and we’ve] accepted collectively the notion that creativity and suffering are somehow inherently linked’

Creativity = a horrible life? Anxieties, fear, alcohol – ?

In her TED Talk from 2009, Author Elizabeth Gilbert throws out some diversionary concepts to keep going – be undaunted.

What really motivates us to do the things we do? I’ve read studies like these over and over – it’s not quite money. And it’s not very simple either.

Found via Bill Mead

‘For our first release, Alphabuild for iOS, we wanted to pay tribute to the process of building letters (which is the other fun work we do here at our studio). We wish building letters for our clients was as zany and colorful as it is in Alphabuild. On the other hand, we’re glad we don’t have aliens, glue bottles and sawblades trying to mess up our letter drawings.’

Featuring types from the great Psy/Ops library (including my own Jeanne Moderno) as well as a few tikis (see below) – James Beall’s Alphabuild is a fun, quirky educational alphabet game for iPhone, iPad and iPod.

Snag it in the App store. Website here, Twitter here. And free goodies here.

Happy alphabuilding!

‘Between 1939 and 1944, the OWI and the Farm Security Administration made thousands of photographs, approximately 1,600 of them in color’

Despite what my dad told me, the 1930s and 40s were actually in color.

More pics here, here, here and here.

‘Watch the definitive documentary on the husband-wife design icons’

A new biography on Charles and Ray Eames is airing on PBS this week. Powerful and unflinching, more than just chairs. Playful optimism, powerful clients, amazing budgets, odd obsessions. Narrated by James Franco, titles feature the incredible Eames fonts.

Watch it online here.

Above, the IBM Pavilion at the 1964 Worlds Fair.

Below, Eames’ complete short film The Information Machine. Commissioned in 1958 by IBM, it was designed to get a fearful population to trust this perceived-dangerous, unknown mechanical variable: Computers!

‘The rectangles on top of each label represent main ingredients, and bars on the bottom provide a quick thumbs or thumbs down for a breakdown of fat content, carbohydrates, etc. Icons of spoons and scoops are used to supplement serving size since no one knows what 182 grams looks or feels like.’

Above, Renee Walker’s food nutrition label redesign, winner of UC Berkeley School of Journalism’s Rethink the Food Label competition.

Her work was originally part of an interdisciplinary topic studio focused on contemporary health issues; she has her original versions posted here.

Below, a few of my favorites from the competition:

Corinne Pritchard

Fabius Leineweber

Bradley Mu

Found via FlowingData

Final project from my beginning typography course at American River College: Futura Condensed Extra Bold, crafted as iced chocolate cake by student Lilie Matyuk.

Food-based type is always a tricky undertaking, but luckily we had Teresa Urkofsky teaching next door – in the culinary classroom. Teresa had recipes and techniques ready to advise.

I’ve been drawing some form of type since the 1980s. And have been teaching type for several years now.

It’s hard to ‘go digital’ when introducing typography, since letterform history goes back hundreds (and thousands) of years.

So I still use 15th century era handtools in my introductory type courses.

Good fonts still contain elements from long ago – and today, all we really do is recreate what was once done with broad pens – using digital tools.

font games!
To get a taste of how ‘us professionals’ render type these days, check out Mark MacKay’s brilliant Shape Type (pictured above) and Kern Type. Both are nutshell adaptations of today’s process – kerning being a majorly overlooked, but necessary typesetting skill.

digital type tools
Fonts today are vector-based, so a mastering the basics of Adobe Illustrator is the start.

Beyond this, there are a bunch of applications on the market for drawing fonts. FontLab is the big one, Fontographer is the old one with the easy interface – and TypeTool is a barebones student-discounted alternative. Unlike Illustrator, these font tools take into account how letters are drawn, with built ins that make it easy to adjust edges. Karen Cheng’s Designing Type is also a must resource to have.

And I do all my logo drawings directly in FontLab – after multiple sketches in pen and ink. It’s just easier that way.

Shape Type found via Mark Nutini

Change to Win’s animate of ‘The End of the American Dream?’ – done in the style of RSA Animate.

Found via Occupy San Francisco

‘New landscape for big banks’

Mother Nature Network looks at today’s banking landscape. Original post here.

Found via Shandi Pierzina

‘I’ve been doing posters for tons of cities across America’

In the past few weeks, one of my former students has found herself cast as the visual heart of the Occupy movement. Raina Dayne started with offering to do a poster and it’s blossomed into something much bigger.

Raina’s images can be downloaded for use at the Occupy Together website. Facebook page here, shirts here.

‘Your time is limited, so don’t waste it living someone else’s life. Don’t be trapped by dogma – which is living with the results of other people’s thinking. Don’t let the noise of others’ opinions drown out your own inner voice. And most important, have the courage to follow your heart and intuition. They somehow already know what you truly want to become. Everything else is secondary.’ –Steve Jobs

Intuition is very powerful, once one knows how to trust it. It involves turning off the insecurities of ego and concentrating on pure feeling. And it works wonders.

The news of Steve Jobs’ passing came in via social media. I saw a Facebook post right after I gave a design history lecture on early modern artists and how they’d managed to change the world.

I was fortunate enough to both go to school and work in and around Silicon Valley where Jobs’ approach reverberates and inspires. Playing it safe, following the status quo will not lead to new things, will not improve life as we know it – and Jobs knew how to get the best work out of Apple’s creative team.

He knew that details are excruciatingly important. Leveraging design, using good typography, giving us what we really want – instead of what we think we need – was all part of the package.

Thinking different makes the world a better place. That’s the legacy he leaves.

Image by Dylan Roscover, using Apple’s suite of fonts from over the years

‘handprinted and unique posters in A0 format, printed and digital invitations and adverts in various Dutch magazines   . . .   woodcut printed.’

E-flyer for Alban Schelbert and Christopher West’s End Exam Show at the Gerrit Rietveld Academie. From 2009.

Found via manystuff

‘Having many food and chemical sensitivities has been a largely trial-and-error process for what can be tolerated and what can’t, and has resulted in many creative kitchen science experiments’

Web designer/cartoonist (and former student of mine) Annie Hero has developed some major health problems. Recently, she’s taken to blogging about her approach to reclaiming her life from years of processed food intolerance.

Annie’s WTF are you eating? can be found here.

‘Spice up your design’

Hanging on the walls at Ai Sacramento: AIGA poster, designed and photographed by student Devon Cloutier.

At one point, there was a text change and in lieu of starting over, Devon fixed it – orally, swallowing a lot of the saucy rooster.

Designers do suffer for their art.

‘Avant-garde German artists were now branded both enemies of the state and a threat to German culture.’

In 1937, the Nazi party hosted ‘Entartete Kunst.’ This traveling exhibition showcased modern art as the work of madmen, ‘degenerates’ out to destroy the world.

Confiscated art – works of Kirchner, Nolde, Beckmann, Ernst, Chagall, Matisse, Picasso, Van Gogh, Dali, Klee, Kandinsky, Lissitzky, Grosz and many others – filled the show. After, the pieces were either destroyed or auctioned off.

For more about Entartete Kunst, watch David Grubin’s powerful 1993 Degenerate Art documentary here. Read more here and here. The show’s exhibition catalog is posted here.

Art, ideas, original thoughts: All dangerous.

This past weekend I saw a documentary on The Inquisition. Things such as inquisitions, persecutions – Entartete Kunst, McCarthyism – cycle throughout history.

What beliefs, doctrines and laws exist today that limit freedom, individuality and progress?

Harry Potter makeup tutorials. Drag option at bottom.

Found via Trendhunter

Above, advice from artist Tom Sachs for anyone starting work in a studio. Interns, PAs, gophers. Art, design or otherwise.

Below, Sach’s iconic Prada Toilet, Chanel accessories and the Hermés Value Meal.

‘Before there were photocopiers, scanners and printers, there was the Ditto Machine (a.k.a. spirit duplicator), produced by the Illinois-based Ditto Corporation; originally introduced in 1923.’ –mnn

Clifford the Big Red Dog was supposed to be red. But in the handout I got in kindergarten, he was purple.

So was my introduction to the Ditto Machine – a device used to replicate most of the paperwork I’d used in elementary school.

Some of my earliest experiences as a ‘graphics’ guy was playing with one of these machines – seeing what it could reproduce and what it couldn’t. It couldn’t reproduce much. The copies were so smudgy, Dittos were grunge before grunge was grunge.

And the smell of the purple ink was incredible. Fruity and chemically at the same time! Tho it turns out ink ingredients – isopropanol and methanol – are toxic substances. Who knew?

Cept for a few high school teachers who were holdouts (‘I don’t trust that newfangled photocopier thing’) all the dittos in my life were gone by end of grade 12.

Snag a tee here.

Images found via They Always Come Back, a tree grows in brookline, Zazzle, Jean&Vic

‘Paul Renner’s Futura interpreted in metal’

Handmade model with engine. Cesar Santos Perez’s final project from my most-recent experimental typography course at Ai Sacramento.

‘What I did on my summer vacation’

Last week, I spent four full days with a handful of some really cool teens.

I found myself saying, ‘Yes, I’ll do it. What is it?’ to teaching a week-long Summer Studio workshop at Ai Sacramento.

I called the whole thing ‘Designer Mashup’ – and set about having my students mix contemporary designers with historical luminaries.

Design history, research, handmade collages, form studies and handing work off to other students (to reinterpret) were part of the process.

Pictured, some of the final pieces.

Designers studied included Paula Scher, Georges Braque, Josef Albers, El Lisstizky, Rick Griffin, Jessica Hische, Raoul Hausmann, Marian Bantjes, Hannah Höch, Alvin Lustig, Shepard Fairey and David Carson.

Sybil Andrews’ Speedway (above) is a linotype print commissioned by the London Passenger Transport Board in 1934 to advertise what was a new spectator sport, Speedway Racing.

The final piece – like the famous ‘keep calm’ poster – was never used for its intended purpose.

Found via Gunther Stephan

‘Metzinger celebrated the salutory effects of exercise on the male population in his ‘Cyclist,’ which focused on a sport that historian Eugen Weber has described as a French creation, and one affordable to the French working class by 1900.’ –Mark Antliff, Patricia Leighten

In 1913, Jean Metzinger (1883-1956) created his Cubist Cyclist to depict audience, participant and the interaction involved.

(Been doing a lot of reading on early modern art)

‘Does the venue make the music? From outdoor drumming to Wagnerian operas to arena rock, he explores how context has pushed musical innovation’

Found via Lucy Cook

‘For his thesis, Dong Yoon Park, a Masters student at Parsons, built an iPad app designed to teach pros and novices alike the arcane world of typography.’

Details here.

Found via Taxi

Designing for use is something often overlooked by designers. What happens once the design is in the hands of actual people?

Stewart Brand takes a long look at design AFTER it’s implemented – in this case, the design of buildings. Does ‘form follow function?’

6-part, 3-hour BBC Documentary. Based on Brand’s book. Music by Brian Eno. From 1997.

Posted in its entirety on Google. Part one above. For part two thru six, go here.

‘it took a week to do it’

For anyone who’s taken an intro to typography course with me – there is a fair amount of stippling involved as part of some really complex letterform studies.

And one of my former students – Freya Kiessling – who dotted her way thru letters – has gone national with her work.

Her color Conan O’Brien pointillism illustration (above) was used as a bumper on Conan’s show, April 11, 2011. The drawing was submitted thru their Coco MoCA page (many, many images abound).

And today – per show request – a print hangs in the show’s green room at Warner Bros. in Burbank.

Below, another Freya-produced Conan piece – from a beginning animation class.

Tonite this link just sort of popped in from former student Campbell BrownKorbel. It’s secrets that every creative – from illustrator (the focus) to designer to comedian to (hell) anarchist – should know.

Phil McAndrew’s Super Obvious Secrets That I Wish They’d Teach In Art School. Read the whole thing here.

Dmitriy Antropov’s final project was a Gill Sans maze, hand crafted from foam.

After we tried to actually do the maze (and failed), Dmitriy reached down and carefully removed a small partition – near the bottom of the a – and we were able to complete.

‘escaping the norm’

Just finished up my Friday night beginning type course – and final projects can take any form. Last night, Christopher Gianni-Embrey showed up for class with an old computer monitor.

Inspired by a recent viewing of The Shawshank Redemption, Christopher visualized the word ‘escaping’ using Morris Fuller Benton’s Bank Gothic.

Not on screen, but in screen.

The final piece was Christopher’s first ever attempt at model making. It was crafted from mostly found materials. As he put it, ‘driving around town, there’s a lot of stuff people throw away.’

In the process, he ended up with a bunch of dead computer monitors – just in case the first attempt didn’t pan out.

My next Friday night type course is scheduled for Fall 2011 at American River College. Course number: ARTNM 303.

The work of Skyler McDonald, London Hairdresser of the Year 2010.

More award winners here.

Nicky Bradwell survived my typography and design history classes and is now making music. Each month, he’ll have a new FLAVOR on Soundcloud.

Facebook page here.

MarchFLAVOR by superhumanyouth

TripleRainbowMix by superhumanyouth

‘Here are four contenders for future moral condemnation: Our prison system; industrial meat production; the institutionalized and isolated elderly; the environment’

Often I just look at the news and wonder how fucking stupid we’re going to look to future generations.

We have a lot to answer for. I found a great breakdown in The Washington Post. Read it here.

and
Above – just to contrast – is Walt Disney’s original plan for EPCOT, outlined in a 1966 short film. Made a couple months before Disney’s death.

‘Japanese artist Isao Hashimoto has created a beautiful, undeniably scary time-lapse map of the 2,053 nuclear explosions which have taken place between 1945 and 1998.’

Over the years, the US has set off over a thousand nukes. Something I never really knew.

Skip thru to the early 1960s and the multiples of blasts end up looking like Christmas lights.

Found via Marian Bantjes

‘I was working on maintaining the quality of Bernhard’s handdone type while taking a new and different approach to it’

Student Lesley Gaesser’s large scale final project from my experimental type course at The Art Institute of California Sacramento.

Lesley did an 11 week study on the work of designer Lucian Bernhard (1883-1972) – which culminated in a final linocut-inspired project.

Bernard’s Antiqua type was traced onto Speedball carving blocks, cut by hand, inked and printed on large sheets of watercolor paper.

My next experimental course begins April 8.

If student hangs roughs low on the wall, one can only critique if lying on the floor; Photo by Daniel Mendez