Brain Pickings

Posts Tagged ‘design’

11 SEPTEMBER, 2012

Kevin Stanton’s Cut-Paper Illustrations of Romeo and Juliet

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A tactile take on literature’s most tragic love story.

As a lover of exquisitely crafted die-cut books and beautiful illustrations of literary classics, I was instantly taken with this new edition of Romeo and Juliet (public library) from Sterling, featuring striking cut-paper artwork by Brooklyn-based illustrator Kevin Stanton.

With a whiff of Rob Ryan’s romantic style and Béatrice Coron’s exquisite craftsmanship, yet wholly original, Stanton’s whimsical vignettes capture iconic elements from the play by layering two colors of paper over a white page to a mesmerizing effect.

In addition to Romeo and Juliet, Stanton also illustrated equally stunning new editions of Macbeth and the forthcoming Hamlet.

Thanks, Tina

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11 SEPTEMBER, 2012

Vintage Ads for Libraries and Reading

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“There’s a future in books…and a book in your future!”

After a look at those vintage ads for iconic books, how about some vintage ads and posters for all books? Delightfully colorful and brimming with endearingly bad copywriting, these mid-century gems exude the same charming literary enthusiasm we’ve previously seen in the reading PSA posters of the WPA era.

Complement with Maurice Sendak’s little-known and lovely posters celebrating reading and this photographic love letter to public libraries, then see Franz Kafka on what books do for the human soul and Rebecca Solnit’s beautiful meditation on why we read.

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10 SEPTEMBER, 2012

Design, Knowledge, and Human Intelligence: RIP Bill Moggridge, Designer of the First Laptop

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“You can’t really, truly expect to explain design unless you explain intelligence.”

Sad days for the design world: We’ve lost Bill Moggridge (1943-2012) — visionary pioneer, designer of the world’s first laptop, director of the Cooper-Hewitt National Design Museum, and one infinitely kind man. No attempt to capture the full scope of his legacy and cultural imprint would be remotely adequate, but revisiting his inimitable insight into the essence, purpose, and sociocultural capacity of design is a poignant reminder of just what we’ve lost with his passing — and how much we’ve gained through his timeless wisdom.

In 2007, shortly after the publication of his now-iconic Designing Interactions, Moggridge gave an interview for Ambidextrous Magazine, in which he articulates with his signature blend of insight and irreverence some of the most critical issues that still keep design a culturally misunderstood discipline and design education a broken model.

One of the paradoxes Moggridge addresses is that of the usefulness of “useless” knowledge and the fetishizing of factual knowledge:

[Academia is] all about explicit knowledge. And design, by definition — along with the other arts like poetry or writing — is mostly not so explicit. It’s mostly tacit knowledge. It has to do with people’s intuitions and harnessing the subconscious part of the mind rather than just the conscious. And the result is if you try and couch the respectability of a professor or some form of research grant in terms that are normal for science, then it looks very weak. And so you have to have a different attitude, really, in order to see the strength that it could offer or the value that it could offer. And that’s a big difficulty both in academia and in terms of foundations.

[…]

If you think about the structure of the mind, there just seems to be a small amount that is above the water—equivalent to an iceberg—which is the explicit part…And most academic subjects are designed to live in that explicit part that sticks out of the water. If you can find a way to harness, towards a productive goal, the rest of it, the subconscious [understanding], the tacit knowledge, the behavior — just doing it and the intuition — all those, then you can bring in the rest of the iceberg. And that is hugely valuable.

NASA astronaut using the first notebook computer, Moggridge's GRiD Compass, on a space shuttle flight.

Moggridge draws a fascinating parallel between design and science, echoing the idea that intuition is essential to both scientific discovery and creativity:

Every scientist is an intuitive person, and most ‘ahas’ come from intuition anyway. And we all know that we fall in love with things and that we’re interested in subjective qualitative values. It’s just whether you recognize it as having something that you can use in a respective environment or a respectable sense.

Ultimately, and perhaps precisely because it requires this kind of abstract knowledge and combinatorial creativity, Moggridge frames design as a form of intelligence:

I really don’t think you’re going to understand design and art until you understand intelligence [and how the brain works]. So you can dent it, you can sort of make things so there are interesting insights and will help people, and you can explain process, but you can’t really, truly expect to explain design unless you explain intelligence.

He leaves us with a seemingly simple but infinitely important reminder, wrapped in a hope for better design writing and education:

So few people seem to realize that everything’s designed. And until we get some good people telling the story, that’s probably going to continue to be the case. So I’d love it if there was a consciousness in the public mind that mathematics and reading and writing is not enough — you also need to learn how to do design. Because everything is designed, and the way our world exists around us depends on how well it’s designed.

Fortunately, we’ve had some really good people telling design’s story. But what tragedy to lose one of the best of them — Bill Moggridge, you will be missed.

In 2010, Moggridge followed up with Designing Media — a modern treasure.

Images via Smithsonian courtesy IDEO, Associated Press

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10 SEPTEMBER, 2012

The First Ads for Famous Books

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Because even genius needs share of voice to succeed.

In Read Me: A Century of Classic American Book Advertisements (public library), New York Times book critic Dwight Garner offers “a visual survey of book advertisements, plucked from yellowing newspapers, journals and magazines large and small, from across the United States during the twentieth century” — more than 300 of them, to be precise, including some of modern history’s most beloved literary classics by favorite authors like Susan Sontag, Kurt Vonnegut, Joan Didion, Anaïs Nin, and Ray Bradbury. What emerges is a curious alternative history of literature and its parallel evolution alongside twentieth-century communication arts and advertising. But, perhaps most importantly, it serves as a necessary antidote to the genius myth, demonstrating that icons are very much made, not merely celebrated for their “God”-given talent.

1925

1926

1926

1934

1948

1948

1954

Garner writes of the new visual language of the 60s:

Author photographs, in the 1960s, were increasingly put to bold use. Susan Sontag pops out of a 1963 ad for her first novel, The Benefactor, glancing provocatively from the page as if she were an intellectual Cleopatra.

1963

1966

1969

1970

1970

1971

1971

1974

1985

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