And connecting back with the previous reading, this time I’m nodding along with Erik Spiekermann in Chapter 1, along with Shaughnessy’s response to him, when they’re talking about how the best designers don’t let design eclipse the rest of their lives. I feel like I’ve done my best design stuff when I’ve been working on something that wasn’t so much a ‘design project’ as a ‘cool other stuff I’m into project that happens to need my design expertise’. Like what I’ve got for Tinkerers so far, or the All-That-Is Atlas and Guidebook I did two years ago (and then turned into a web page last year). Doesn’t mean I can’t do work on stuff I’m not in love with, but I’m pretty sure that everyone can tell the difference between the final products. Or at least everyone who’s looking for it.
That was both slightly off-topic and somewhat more emotional than I expected it to be. Huh.
Ignore that last bit.3 years ago • 0 notes
Sorry about that. Missing my syllabus for a minute.
I found myself nodding about the Paula Scher quote in the Introduction to the Original Edition, the one that talks about “the kind of anonymous bad design that we’ve come to ignore because we’re too busy fighting over the aesthetics of the latest AIGA poster.” There’s been a historical tendency for just about every field of art to get more and more insular and self-referential, and less connected to the outside world. I think it helps that as designers we’re usually required to look at things outside of our own work because, you know, we’re doing them for a client, but occasionally I’ll see things that are beautiful and well-designed and worthless for anything except as eye candy.
And there’s nothing wrong with eye-candy, but if it takes years of graphic design training to see how awesome your design piece is… maybe it isn’t so awesome.3 years ago • 0 notes