Illustrate Me for June

Tue 18 Jul 200612:54 AM

Plagiarism in Our Schools

Fri 14 Jul 200601:31 AM

This modest little slice of fame I’ve gotten comes with its drawbacks. One of them is the periodic plagiarism of the design of Subtraction.com by unscrupulous or unintentionally errant individuals. I handled my first exposure to this phenomenon last year rather ham-fistedly, overreacting to the essentially innocuous emulation of this site’s design by a basically well-meaning young guy abroad. I rather indignantly and publicly blogged about his offending site, and he graciously removed it — the same effect could have been achieved without the hoopla had I just sent him a private, polite email instead.

After An Event Apart

Thu 13 Jul 200601:44 AM

The AIGA and Web Design

Tue 27 Jun 200609:34 PM

As of the beginning of this month, I became a member of the board of directors for the New York chapter of the AIGA. Notwithstanding the fact that I find their recent, subtle re-branding efforts confusing — mothballing the explicit translation of the organization’s acronym as “American Institute of Graphic Arts” and opting instead for a more global-minded, less literal tagline: “The Professional Association for Design” — I’ve always had great respect for the AIGA.

Over the past several years, I’ve been involved with the organization at various levels, including designing micro-sites like Gain 2.0 and helping to re-architect their Design Forum (a job that, in retrospect, I wish I’d pulled off better), and I’ve been good friends with some of the staffers at the organization’s national office.

As corny as it is, I really do believe in the AIGA’s mission: “To identify and define issues critical to its membership and the graphic design profession; to explore and clarify these issues for the purpose of helping to elevate the standards of the business of graphic design; and to create a forum for the exchange of information, views, ideas and techniques among those engaged in the profession.” In many ways, the organization is uniquely positioned to do a large amount of good for graphic designers and to create the conditions under which great design can flourish.

Illustrate Me for May

Tue 20 Jun 200611:14 PM

Calling All Famous People

Fri 16 Jun 200610:02 AM

If you haven’t yet seen it, the reigning lion of design criticism blogs, Design Observer, recently launched a new visual make-over. At long last, the tiny white type on dark gray background of their old look and feel has been cast aside, and now it’s finally possible to read the text without incurring lasting corneal damage.

It’s not a revolutionary design, but it’s exactly what it needs to be. The new look is austere, tasteful and orderly, and I like it quite a bit even if I do wish the text was larger still (I’m somewhat prematurely succumbing to that inevitable decline in the power of the eye to make out teeny tiny designer typesetting). I’m not going to get into a big review of it, though — for that, you can turn to the excellent roundtable discussion on this subject over at Speak Up.

Mainly, I point it out because I want to piggyback on a great piece that Michael Bierut published on the site a few days ago about the recent, unfortunate passing of photography great Arnold Newman.

Mirror, Mirror

Thu 15 Jun 200601:21 AM

A design flourish whose time is clearly now — or maybe it was fifteen minutes ago — is reflectivity, that very popular style of making objects cast a reflection on a horizontal plane directly beneath them. The most notable example of this, and to my mind, the apex of the trend, is Apple’s iChat AV release from last year, which renders video conferences of three or four people as if the concurrent screens are arranged in a virtual room. Beneath each of the video conferencing screens is a beautifully rendered, dynamic reflection.

It’s a very slick look that creates a dramatic spatial illusion — the kind of illusion that, in the recent past, digital design has been skittish about. The conceit of virtual spaces — rooms, cities, etc. — being used as metaphors for information display is something that fell out of favor with the passing of CD-ROMs as a viable medium; three-dimensional space in user interfaces became cheesey, basically, and we’re only now starting to think of the approach as not cheesey. But it may be too late.

Crazy Like a Vox

Tue 6 Jun 200601:47 AM

Museum-quality Design Talkin’

Fri 26 May 200601:41 AM

Last night I went to a lecture by Paola Antonelli, the Museum of Modern Art᾿s Curator in their Department of Architecture and Design. The event was part of the AIGA New York’s long-running series of “Small Talks,” which features various luminaries of design speaking in relatively intimate venues — a really great program, by the way.

Antonelli is responsible for a series of acclaimed design exhibitions at MoMA over the past decade or so: “Humble Masterpieces,” which examined objects modest in size and price that also happen to be indispensable design accomplishments; “Workspheres,” which examined the evolving ideas behind the spaces in which we work; and a comprehensive retrospective of the legendary designer Achille Castiligioni, among others. They’re all original and impressive curatorial visions, but they also all focus on design in three-dimensions; architecture and industrial design have benefitted the most from the museum’s surveys of the design arts, while graphic design has suffered the most by neglect. In fact, the museum’s own permanent graphic design collection is somewhat narrow, devoted almost exclusively to twentieth century posters, which doesn’t exactly make for comprehensiveness.