Tomorrow, there is a memorial service in Port Washington, NY for
Anne Buerger.
I met Anne Buerger around 11 years ago through the mentoring program that paired students from the High School of Art and Design with adult mentors from AIGA, the professional association for design. Anne was the teacher coordinator for the program. Anne loved the kids. The kids loved her. So did the adult designers in the program.
Anne seemed like a spirit from another world: gentle, graceful, ethereal. Yet, mentally she was a strong person. She was smart, perceptive, incisive, a diplomatic questioner. She knew about complications, but she approached people with kindness, grace, and clarity. One student who's now at City College in Architecture described her as the best teacher he had.
Anne reminds me of a moment from my college days, when I was lucky enough to be one of the thousands of college students doing Europe on less than $5 a day, seeing, with awe, most of the art and architecture covered in survey courses. My college roommate and I visited many MANY gorgeous, vaulting, elaborate cathedrals with complex stained glass. Then, one day, we went to Vence, a small town in France, to see the Matisse Chapel. It was quiet, simple, calming, full of light and without any of the usual icons of religiosity. Light streamed through simple shapes. We were moved. I recall us gently weeping. The time in that chapel has stayed with me for decades.
Like Matisse with his Chapel, Anne had a quiet genius for illuminating life. Like the interior of the chapel,she was unassuming, thoughtful, lovely, inspiring, memorable. For decades.
Saturday, July 24, 2010
Tuesday, July 13, 2010
Friday, July 9, 2010
Hot in Cleveland
Forget LeBron. Friend and filmmaker Stuart Math, who grew up in Cleveland, sent some info about the real headlines from the bereaved city. It's somewhat comical —as well as good—that a choice of a certain defaul font is big news (It may be less funny that I'm appropriating the story). Perhaps by cavalierly using a silly face to write to Clevelanders, Gilbert is letting himself off the hook. If Cleveland's team doesn't win an NBA championship, then Gilbert can point to his open letter and declare: "I was kidding. Look at the typeface I used in the letter!" Seriously, type imparts a subtle message—or in this case, a not-so-subtle signal that some folks with big bucks don't think about perceivedly smaller details. Not at all seriously, College Humor's skit about (mostly System) Fonts is a funny primer in type personalities. Have a look at the character (I mean the actor, not the letterform) of your much-maligned Papyrus.
Photo of Bozo shot at Pearl River Mart.
Thursday, July 8, 2010
Book Cover Swipe
This egregious swipe of a photograph for a book cover is making the rounds on the Internet today. It relates to the "fair pay, fair use" discussion we're having, although I think this goes a bit beyond.
On his blog Seth Koth writes, "In 2006, a publisher (Little, Brown and Company) asked him if they could purchase the rights to one of his photographs (and Photoshop a child in the snow)." He said no, but 3 years later...
On his blog Seth Koth writes, "In 2006, a publisher (Little, Brown and Company) asked him if they could purchase the rights to one of his photographs (and Photoshop a child in the snow)." He said no, but 3 years later...
Wednesday, July 7, 2010
The Death of Illustration
Speaking of qualified clients, how about fair pay for fair use?
In an interview for Design Arts Daily, Kelly Doe, the Art Director for the New York Times discussed the future of publishing with Fernanda Cohen, a faculty member at the School of Visual Arts, Vice President of ICON6, and lecture coordinator at the Society of Illustrators of New York, and they had this very depressing exchange (extremely depressing bit is in blue).
Fernanda Cohen: What’s happening with the NYT online vs. print—and how is illustration being commissioned and used for both media?
Kelly Doe: At this point the paper is fully integrated–everything is uploaded for the web first and then collected and shaped for the print edition. Each section of the Times is staffed for both print and web, and the multi-media, video and graphics departments communicate with all editorial and art departments.
FC: How is illustration being commissioned for both media?
KD: Illustrations are commissioned by the art director for each section, but the web art directors commission art for the blogs and some online-only features. Online-only illustrations (in blogs, features, video, and more) have limitless potential that we are just starting to explore.
FC: Do you think publications are using less illustration because of the online market? If so, why?
KD: Publications are using less illustration because they have fewer ads, therefore smaller budgets. There is a trend towards using stock photography because it’s ultra-cheap.
FC: Do you think the value of illustration, fee wise, has lowered because of online usage—or the lack of it? Do you think the quality of illustration has lowered because of these same reasons?
As one colleague put it to me after reading this:
"Illustration is dead... long live stock photography."
In an interview for Design Arts Daily, Kelly Doe, the Art Director for the New York Times discussed the future of publishing with Fernanda Cohen, a faculty member at the School of Visual Arts, Vice President of ICON6, and lecture coordinator at the Society of Illustrators of New York, and they had this very depressing exchange (extremely depressing bit is in blue).
Fernanda Cohen: What’s happening with the NYT online vs. print—and how is illustration being commissioned and used for both media?
Kelly Doe: At this point the paper is fully integrated–everything is uploaded for the web first and then collected and shaped for the print edition. Each section of the Times is staffed for both print and web, and the multi-media, video and graphics departments communicate with all editorial and art departments.
FC: How is illustration being commissioned for both media?
KD: Illustrations are commissioned by the art director for each section, but the web art directors commission art for the blogs and some online-only features. Online-only illustrations (in blogs, features, video, and more) have limitless potential that we are just starting to explore.
FC: Do you think publications are using less illustration because of the online market? If so, why?
KD: Publications are using less illustration because they have fewer ads, therefore smaller budgets. There is a trend towards using stock photography because it’s ultra-cheap.
FC: Do you think the value of illustration, fee wise, has lowered because of online usage—or the lack of it? Do you think the quality of illustration has lowered because of these same reasons?
KD: Fees have lowered for several reasons. There are now typically two uses (web and print) for the price of one. Some publications now demand ownership of the art instead of one-time use (so no future sales for the illustrator), and lower budgets can mean less pay per illustration. Fortunately, the quality of the work has not lowered. Amazing things are happening, and in a much more diverse range of media.
As one colleague put it to me after reading this:
"Illustration is dead... long live stock photography."
Tuesday, July 6, 2010
Students (Visually) Storm Times Square
Live! From New York! Today, six billboards addressing issues of tolerance premiered on Clear Channel's "Spectacolor HD" digital billboard at 47th & Broadway (above Blue Fin; on the west side of the tkts booth). Created by high school students in the AIGA/NY Mentoring Program, the billboards will be broadcast at various soon-to-be-announced times through July 31, thanks to AIGA/NY's partnership with Worldstudio and its Create/Don't Hate initiative (which is in turn a subset of "Design Ignites Change"). It truly takes a village . . . .
The chosen six billboards looked great in Times Square this hot and hazy summer morn—right up there with the great Broadway billboards by SpotCo. Shown below: Arielle posing in front of her creation.
• • •
22 of the students in the AIGA/NY program tackled the theme; all 22 billboard designs will be on display through July 22 at the (air conditioned!) AIGA National Design Center, 164 Fifth Avenue, between 21st and 22nd Streets.
Sunday, July 4, 2010
Justice for all
Consultants admonish designers to work with qualified clients—i.e. those who understand that time + expertise are valuable and deserve respect and strong fees. A recent project precipitated a review of qualifications.
Some of this post is more like me talking to myself—a quasi-declaration of independence. You already know this stuff, but here it is anyhoo—for myself and for any recent graduates out there.
Work is noble. In a terrible economy, projects that pay the overhead are beyond noble into the territory of crucial. Work/income=relief. That said, mutual respect for talent, intelligence, time, and expertise are key reasons to work with a particular company or person. At bottom, a client who doesn't or "can't" pay for extras is essentially robbing time and energy. Especially in a bad economy, no one can afford to be robbed of shekels, morale, or interest.
Of course I realize that people respond to confident behavior and that a designer—or anyone providing a service—must learn to lead. Some clients may not be "leadable" or qualified. So, as I continue to position the office for both good times and bad, here are my key criteria for seeking new clients:
Why agree to a project?
—The material
—Income
—Client is a great collaborator
—Opportunity to learn something if the fee is low (that's low, not nil)
Note: according to a colleague who works in an internship office at a SUNY college, it's illegal to have unpaid interns unless the intern is earning course credits.
If it's a nuts and bolts reason like paying the rent, is there a fair fee? If not, what's the reason to do the project? Learning new software? PR? A good story (war stories don't really count). It's in my power to just say "no"—or to complete the project and move on and out.
Just for fun (OK, to vent!) I might make a sly tip sheet. The qualified clients don't need the tips; the unqualifieds won't get it. Feel free to add your faves.
Some of this post is more like me talking to myself—a quasi-declaration of independence. You already know this stuff, but here it is anyhoo—for myself and for any recent graduates out there.
Work is noble. In a terrible economy, projects that pay the overhead are beyond noble into the territory of crucial. Work/income=relief. That said, mutual respect for talent, intelligence, time, and expertise are key reasons to work with a particular company or person. At bottom, a client who doesn't or "can't" pay for extras is essentially robbing time and energy. Especially in a bad economy, no one can afford to be robbed of shekels, morale, or interest.
Of course I realize that people respond to confident behavior and that a designer—or anyone providing a service—must learn to lead. Some clients may not be "leadable" or qualified. So, as I continue to position the office for both good times and bad, here are my key criteria for seeking new clients:
—Respectful and energetic collaboration
—Work (content / form) worth doing
—Remuneration that shows regard for expertise and time
—Mutual respect
—Fun
Why agree to a project?
—The material
—Income
—Client is a great collaborator
—Opportunity to learn something if the fee is low (that's low, not nil)
Note: according to a colleague who works in an internship office at a SUNY college, it's illegal to have unpaid interns unless the intern is earning course credits.
If it's a nuts and bolts reason like paying the rent, is there a fair fee? If not, what's the reason to do the project? Learning new software? PR? A good story (war stories don't really count). It's in my power to just say "no"—or to complete the project and move on and out.
Just for fun (OK, to vent!) I might make a sly tip sheet. The qualified clients don't need the tips; the unqualifieds won't get it. Feel free to add your faves.
—Refrain from calling a designer "dear"
—Avoid the phrase "Here's what we want you to do"
—Do not define an adjustment as a "tweak." A tweak is small only to the party requesting said tweak, not to the tweaker.
—Be aware that getting "a kid in your office" or "one of your students" to do something also involves paying said "kid" or "student"
Thursday, July 1, 2010
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