Brain Pickings

Posts Tagged ‘design’

15 NOVEMBER, 2013

The Geography of Great Literature, in Hand-Lettered Typography

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Twain, Didion, Thoreau, White, McCarthy, Eugenides.

HAPPY UPDATE: All the artwork is now available as gorgeous prints on Society6, with 100% of the proceeds benefiting A Room of Her Own, a foundation supporting women writers and artists.

In a recent collaboration with Debbie Millman for Print magazine’s Regional Design Annual, I selected a beloved literary quotation representing each of the six regions represented and Debbie illustrated the passages in the signature style of her magnificent visual essays and poems. These typographic gems — a sort of modern-day booklovers’ map of literary geography — are presented here for the first time digitally, and include a Brain Pickings exclusive: A special quotation for New York from one of my 10 all-time favorite books on NYC.

For the East, Henry David Thoreausage of true success and children’s book hero — in Walden:

For the Far West, Joan Didion in Slouching Towards Bethlehem (which also gave us her timeless wisdom on self-respect and keeping a notebook):

For the Midwest, Jeffrey Eugenides in Middlesex:

For the Southwest, Cormac McCarthy in Blood Meridian:

For the South, Mark Twainadviser of little girls, “the Lincoln of literature,” feisty critic of the press — in Life on the Mississippi:

For New York, the one and only E. B. White — extraordinary essayist, heartfelt dog-lover, celebrator of New York, tireless champion of integrity, upholder of linguistic style — in the indispensable Here Is New York:

For more enchantment by this Millmanian magic, devour Self-Portrait as Your Traitor: Visual Essays by Debbie Millman, then grab prints of this artwork on Society6.

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08 NOVEMBER, 2013

Self-Portrait as Your Traitor: A 21st-Century Illuminated Manuscript

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“One must have a reason for reflection — an eye to admire variations.”

“Still this childish fascination with my handwriting,” young Susan Sontag wrote in her diary in 1949. “To think that I always have this sensuous potentiality glowing within my fingers.” This is the sort of sensuous potentiality that comes aglow in Self-Portrait as Your Traitor (public library) — the magnificent new collection of hand-lettered poems and illustrated essays by friend-of-Brain-Pickings and frequent contributor Debbie Millman, who recently offered an exclusive glimpse of her creative process in making this extraordinary “21st-century illuminated manuscript,” as Paula Scher so aptly describes this singular visual form in the introduction.

Personal bias aside, these moving, lovingly crafted poems and essays — some handwritten, some drawn with colored pencils, some typeset in felt on felt — vibrate at that fertile intersection of the deeply personal and the universally profound.

In “Fail Safe,” her widely read essay-turned-commencement-address on creative courage and embracing the unknown from the 2009 anthology Look Both Ways, Millman wrote:

John Maeda once explained, “The computer will do anything within its abilities, but it will do nothing unless commanded to do so.” I think people are the same — we like to operate within our abilities. But whereas the computer has a fixed code, our abilities are limited only by our perceptions. Two decades since determining my code, and after 15 years of working in the world of branding, I am now in the process of rewriting the possibilities of what comes next. I don’t know exactly what I will become; it is not something I can describe scientifically or artistically. Perhaps it is a “code in progress.”

Self-Portrait as Your Traitor, a glorious large-format tome full of textured colors to which the screen does absolutely no justice, is the result of this progress — a brave and heartening embodiment of what it truly means, as Rilke put it, to live the questions; the stunning record of one woman’s personal and artistic code-rewriting, brimming with wisdom on life and art for all.

With the artist’s permission, here is one of the pieces from the book — a poem titled “Reflections on a Puddle,” a choice particularly fitting as Debbie originally wrote it in college, when she was certain she was going to be a poet; though life’s defaults took her elsewhere, the poem stayed with her and she revisited and illustrated it more than two decades later, after having courageously rewritten her own code of possibility and arrived at this artistic reawakening.

Self-Portrait as Your Traitor is exquisite in its entirety, featuring ten other pieces that dance vibrantly across the spectrum of the granular and the universal, the personal and the philosophical, the vulnerable and the bold.

Photographs by Thomas Brent Taylor

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05 NOVEMBER, 2013

Little Boy Brown: The Loveliest Ode to Childhood and Loneliness Ever Written, Illustrated by Legendary Graphic Designer André François

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A timeless story of humanity and belonging, wrapped in a charming time-capsule of a bygone era.

“I didn’t feel alone in the Lonely Crowd,” young Italo Calvino wrote of his visit to America, and it is frequently argued that hardly any place embodies the “Lonely Crowd” better than New York, city of “avoid-eye-contact indifference of the crowded subways.” That, perhaps, is what children’s book writer Isobel Harris set out to both affirm and decondition in Little Boy Brown (public library) — a magnificent ode to childhood and loneliness, easily the greatest ode to childhood and loneliness ever written, illustrated by the famed Hungarian-born French cartoonist and graphic designer André François. Originally published in 1949, this timeless story that stirred the hearts of generations has been newly resurrected by the wonderful Claudia Zoe Bedrick, whose Brooklyn-based indie picture-book publisher Enchanted Lion has given us such heartening gems as Mark Twain’s Advice to Little Girls, Blexbolex’s Ballad, Seasons, and People, the breathtaking My Father’s Arms Are a Boat, and the boundlessly soul-stirring Little Bird.

This is the tale of a four-year-old boy living with his well-to-do mother and father in a Manhattan hotel, in which the elevator connects straight to the subway tunnel below the building and plugs right into the heart of the city. And yet Little Boy Brown, whose sole friends are the doormen and elevator operators, feels woefully lonely — until, one day, his hotel chambermaid Hilda invites him to visit her house outside the city, where he blossoms into a new sense of belonging.

Underpinning the charming tale of innocence and children’s inborn benevolence is a heart-warming message about connection across the lines of social class and bridging the gaps of privilege with simple human kindness.

Hilda’s mother kissed me before she even knew who I was!

[…]

Hilda’s family is smarter than we are. They can all speak two different languages, and they can close their eyes and think about two different countries. They’ve been on the Ocean, and they’ve climbed high mountains. They haven’t got quite enough of anything. It makes it exciting when a little more comes!

The story itself, at once a romantic time-capsule of a bygone New York and a timeless meditation on what it’s like feel so lonesome in a crowd of millions, invites us to explore the tender intersection of loneliness and loveliness. François, who studied with Picasso, illustrated a number of iconic New Yorker covers, and belongs to the same coterie of influential mid-century creative legends as Sir Quentin Blake, Tomi Ungerer, and his close friend and collaborator of Ronald Searle, brings all this wonderful dimensionality to life in his singular illustrations, all the more special given this was his first children’s book.

Immeasurably wonderful, Little Boy Brown is without exaggeration one of the loveliest picture-books of all time, with layers upon layers of meaning rediscovered with every read and each new look at François’s infinitely expressive illustrated vignettes, to which the screen does absolutely no justice.

Images courtesy of Enchanted Lion Books

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