Maurizio Cattelan: All things considered

First of all, I would like to acquit myself of having the worst play on words for a post on this subject.

Maurizio Cattelan is relatively young to be retiring, but he has been pretty prolific, and has several world-renowned super-hits. After announcing he would retire from making new pieces, it looks like his retrospective “All” at the Guggenheim, is his last clever turn on the establishment.

There’s a lot of fun in his work, but the biggest play is on the way the work is exhibited. This time, Frank Lloyd Wright’s design of the building is the establishment Cattelan is playing with. Since all the art is hanging from the ceiling, and the normal gallery walls are bare and for the first time I’ve ever seen, people are looking out over the ledge instead of in towards the walls.

Street Art in a Gallery

Art is usually understood in movements. While I used to sit in art class trying to predict the future of the art market, one contemporary movement which was just gaining steam towards its current popularity was Street Art.

A polaroid from TrustoCorp's recent exhibition at The Opera Gallery depicting one of thier guerilla installations on the street

Two of the biggest (but by no means the first) names in street art: Shepard Fairy and Banksy literally started using the streets as their canvases. And once their pieces were up, anything could happen to them, from being turned into a spontaneous protected shrine to getting painted over. Maybe the art looks very similar to work from the Dada and Pop Art periods, but the shift in location is really the message. It’s not art for arts sake. It’s the act of communicating with everyone, not just those strolling through galleries.

Which is an ironic introduction to a Street Art show I saw in a gallery.  TrustoCorp’s Life Cycle isn’t exactly gratified pieces of brick wall torn off a building and put in a gallery, but some of the pieces did consist of posters and objects that were once in the wild (or duplicates of those left in public). I thoroughly enjoyed the pieces, most of which are sprayed and stenciled,* and use brilliant color palettes to get across TrustoCorp’s simple, mostly sociopolitical messages in an obvious way.

Google Reader is the Story

When I first heard about the redesign of Google Reader I was genuinely excited. Google’s new UI design for Gmail, while not received with open arms everywhere, was a welcome adjustment to me. The added white space, bigger buttons and simpler organization was a step up, even if it did take a week or two to get used to. While Gmail is the Google product I use the most, Google Reader is probably the one I most enjoy using.

Since the days of Bloglines and similar RSS reader’s have passed, GReader is really the only legitimate game in town, and is one of the last Google product to receive the new Google visual treatment. Reorganized whitespace, more obvious links and a reaffirmed visual hierarchy could have gone a long way on a service that had bits and pieces of sharing, subscribing and reading functionality added over time.

The Original UI of Google Reader v1

I was so happy for this design update that I pretty much ignored all the outcry about sharing, a much publicized controversy. Here I’d rather discuss some of the peculiar design decisions, and the criticism coming not just from dissatisfied users, but former Google Reader designers themselves.

Lito-graph

This weekend, as a co-host on The Upper East Side Podcast, I had the chance to interview Danny Fein, the founder of Litographs.com, which is a website specializing in prints made from the text of classical literature and other texts.

Click Here to Listen. The Interview starts about 19 minutes in.

NetQwiks: A Design Problem

I don’t usually post reactions to relatively recent developments. (My last post was in reference to some centuries old statues, for example.) But, as a long time consumer and follower of the company formerly, but still in part known as, Netflix, this is an important subject that I wanted to flush out.

There are two parts to my discussion. Not Netflix and Qwikster, but business and branding.

Existing Landing Page (Current as of Posting)


First the business.

A lot changed when Reed Hastings sent me an email at 4am EST on Monday morning. Leading up to Monday morning Netflix’s share price had dropped about 50% in a matter of months, when the rest of the market was moving sideways. The reaction to Netflix splitting their pricing plans for customers was not received well, as it was a big jump from the previously small incremental increases they had come to rely on. But, on top of that, Netflix customers fled the company’s increases in a higher number than the company anticipated (about 1 million). I, personally decided to drop my streaming plan all together and move from 1 DVD at a time to 2 for a lower price than 1 DVD with Streaming. And now, in the post 4am Monday morning world, we have two companies, one for DVD by Mail (and presumably games, wherever that came from) and one for streaming.

So here we are after all these dramatic developments, with two separate brands under the Netflix label. Although I joked about Mr. Hastings sending the 4am email right after he wrote it, I know hes a smart man. The going explanation of the split branding is built on the assumption that the streaming of content and the DVD delivery service are two separate businesses.

While I think that people believe this to be true, to me its kind of irrelevant. Yes, on the back end they’re different businesses, which should have different contracts, fees, infrastructure, etc. But, what is gained by two brand names, one with extreme value and one with almost none?

(As an aside, its also worth noting that adding video games by disk, unless its at very little cost to the company is not nearly as profitable and popular as one would think, and Gamefly is a great example. But for some reason, this will be an added part of the new Qwikster service.)

Share Price from July to September

Branding
The Netflix red envelope is pretty iconic. While the red envelope has been under attack from rivals like Redbox and even threatened through Netflix’s frenetic redesigns of its website, whenever I walk down the street people see my carrying my red envelope to the mail and know what it is instantly. (People even use the name like people use Google: I’ll Netflix it)

Its worth noting that the original Netflix is the DVD-by-mail outfit, where you viewed the online library and created a queue for your by mail DVDs. That was Netflix. That company grew to a billion dollar business when until only recently streaming was more than an afterthought of the product.

This DVD-by-mail service is now spun off (as of 4am Monday morning) under the name Qwikster, with some very questionable preparation and justification. According to CEO Hastings, its called Qwikster because the DVDs come quickly through the mail.

Now, I’m not Brand New, although I eagerly await their review of the new Qwikster identity, but I have a lot of issues with it, apart from the original business losing its name to the new business for the sake of exploiting the existing brand value. Qwikster is just a weird word, and just long enough to be confusing to spell (unlike services like Hulu who have meaningless names that are at least easy to spell). Also, since when has DVD-by-mail held that the DVDs come quickly as a point of pride? While Qwikster/Netflix has an incredible system of distribution, its still the US Mail that gets you your disk in two days. The previous name, Netflix, instead pointed to the infrastructure on the internet for you to view, order and receive suggestions of what to request.

As I alluded to above, why have two names at all? The popular hypothesis that its because the DVD-by-Mail service is from the past and is dying is unsupported by two reasons: one, its still most of Netflix’s revenue, two, the two brands are still part of the same company, and three, what does Mr. Hastings gain from giving the DVD service, literally, a bad name? To me the simplest solution is to just design the website so they are more obviously separated, but not so separated that if you have accounts with both services that you have to rate movies on both sites now to get suggestions.

So while the Netflix name may make a lot of sense for a streaming service, that’s not what it has meant for almost 5 years. And on top of that, adding a whole new name seems like a lot of work when the simplest solution, to me, is a design solution. But I guess when you’re a carpenter all you see is nails.

Disclosure: I’ve been a Netflix customer for 4 years and own shares of the company.

Fasces and Fascism

As far as 20th Century political movements, the Swastika used by German National Socialism is the most covered example of a logo stolen from its history. But Italian Fascism, the other WWII political disaster that once ruled most of Europe had a symbol of its own that, like the hooked cross, was taken from a history much deeper than just WWII.

While the portrait of Robert E. Lee in Lincoln's hair is probably a myth, the fasces of his chair's arms are obvious

While the history of the modern Fascist movement goes back to 1900, its adopted symbol, called the fasces, is a bundle of wooden rods tied together around an axe. Meant to symbolize the strength of many united as one, it was used in its physical form in Ancient Rome for the civic enforcers of the Emperor and local Magistrates.

But how did this ancient symbol of Roman power, and more recently dictatorial power, come to appear all over classically modeled art and civic buildings in the United States?

A Roman Lictor

First of all its worth noting that, as seen above in the Lincoln Memorial, many times the fasces are depicted without the axe heads, which historically signified physical power and corporal punishment. And secondly, the fasces, like the swastika was truly hijacked by Italian Fascism from an otherwise respectful history as graphic element. The fasces historically symbolize the relative weakness of one to the strength of many, as a metaphor of what’s provided in representative government.

But, like with the Nazi’s branding, the fasces adoption by Italian Fascism has forever altered the way people view its symbol. The novelty, is that it was such a utilized design element that many are still viewable from their original context today. Personally, I think this is a better example than the swastika, if simply because display of the swastika in western countries remains almost completely nonexistent or even illegal.

The Past

Periodically I find myself re-researching historical graphic design movements, the Bauhaus and Italian Futurism being the two most often. Recently while reading about the latter I came across a Tommaso Marinetti quote about history that really stuck out to me:

The past is necessarily inferior to the future. That is how we wish it to be. How could we acknowledge any merit in our most dangerous enemy: the past, gloomy prevaricator, execrable tutor?

Marinetti wasnt a graphic designer as much as he was (or wanted to be) a revolutionary of this Futurist movement. Both ironically and fittingly I though of his message of leaving history and pushing into the future in todays terms. So many pieces and products and advertising is disclaimed with some version of “past performance is no assurance of future results.” This applies to almost everything, from pharmaceuticals, to financial services, to governments. And it brings up the further irony that history is supposed to repeat itself. Maybe this was what Marinetti was trying to get away from with his new movement. Futurism was about less (or no) focus on whats been done, good or bad, and more on what we can do. The possibilities are endless, although in retrospect (ha!) Marinetti and his fellow idealistic Italians might have been a bit too focused on speed and less so on what they were speeding towards.

Soundtrack Irony

I havent done a design+film post in a little while, but one method used constantly in film (and TV) involves combining music and visual specifically to induce irony without having to say anything. Irony has always been a powerful tool in all things creative, especially graphic design. And as these examples show, the added tool of music can really drive the story’s point home as well as entertain.

Good Morning Vietnam
What a Wonderful World, Louis Armstrong

This is probably one of the first examples of this I ever saw and really noticed. Louis Armstrong’s eternally optimistic song pancaked on top of the Vietnam War. The creepiest part of a lot of these pairs is that things seem to fit so perfectly, but theres a recurring feeling of perversion that as a viewer is hard to shake.

Watchman
Unforgettable, Nat King cole

In the scene, The Death of the Comedian, a former superhero with an ironic name (the stuff he does in the movie/graphic novel are mostly not funny at all) gets what’s long been coming to him. Originally starting out as source music from the TV, it helps give a pretty gruesome fight the feeling of a ballet.

Dr. Strangelove
We’ll Meet Again, Vera Lynn

Perhaps one of the best ironic movies of all time, Stanley Kubrick’s Cold War masterpiece is just the first of many examples of inducing irony using soundtrack and visual. The pairing of file footage of the destruction caused by nuclear weapons with We’ll Meet Again is funny for the first 10 seconds, but as the whole song plays, the viewer gets the idea that this movie may not have been that funny.

Reservoir Dogs
Stuck in the Middle with You, Stealer’s Wheel

With the way Quentin Tarantino uses soundtracks I had to include him somewhere on this list.  His own special brand of violent, dark humor makes him a magnet for this special type of irony. Through the movie’s own fictional radio station, Tarantino sets a classic rock background to one of the most awkward and painful scenes in recent movie history.

Goodfellas
Layla, Eric Clapton

Another huge American auteur director, Martin Scorsese is also a huge proponent of putting popular songs in his movies. While Layla might not be the most happy song (none of Clapton’s really are) the piano half definitely doesn’t seem to be the proper soundtrack to a series of bloody murders.

American Psycho
Hip To Be Square, Huey Lewis and the News

“He’s been compared to Elvis Costello, but I think Huey has a more cynical, bitter sense of humor” The irony in this scene is so obvious it gets splattered all over the Style Section. Not to mention, the songs message about conformity is pretty much what Patrick Bateman tries to personify to hide his real self.

House, MD
Forget Your Troubles, Come on Get Happy

I wouldn’t normally include a TV show on this, but I think this example is so obvious and effective. While drifting out of consciousness after a dangerous surgery, one of the characters has a fantasy/nightmare represented in a golden-era of cinema type music performance. I’m not sure whats more ironic, the House MD version or the original.

The Recent History of Helvetica

The world’s most popular font hasn’t been around all that long, having been created just over five decades ago (this may sound long in general, but in type terms Garamond has been around for five centuries). Its ubiquity in the world has given it recognition rarely earned by typefaces. Recently I find myself learning more almost every day about Helvetica, and not only new historical facts, but new current events surrounding everything from Helvetica criticisms to attempts at preservation.

 

 

 

 

 

 

 

Its safe to say the contemporary cult of Helvetica was either put in the spotlight, or maybe even caused by Gary Hustwit’s documentary. For everyone it highlighted something designers see on so many signs, maps, books ads, etc. There is a fascination of how something so simple can be almost impossible not to see on a daily basis. Why is it so used, what makes it so great. There is plenty of room to analyze and compliment.

But what I didn’t know (or more likely learned and forgot) was that Helvetica, designed by Eduard Hoffmann and Max Miedinger, was actually once Neue Haas Grotesk. It was named after the foundry that produced it, which ended up merging with type giant Linotype. Hoffmann and Miedinger’s original designs for Neue Haas Grotesk have actually been resurrected, and was previously for sale through Commercial Type.

Arial vs. Helvetica

If the new (old) Neue Haas Grotesk is the preservation/appreciation side of recent Helvetica history, there is no shortage of detractors. I remember hearing the legend that the only reason Arial exists is because Microsoft needed to bundle a font with Windows and didn’t want to pay the licensing fee to Linotype for use of Helvetica. Ive looked to find a definitive confirmation of this claim and, through the “probably“s and “i heard”s, I am still looking. But, poor little Arial got itself into a pretty good gig this past April with the help of design blog idsgn.

April Fools day is anarchy on the Internet, and this past one was no different, but idsgn pulled a great one with the “debut” of a Helvetica-killer typeface called Sonoran.

I am proud to say I was not gotten by this one (although if I was it would not have been the first design April Fools prank to fool me).

Not all attempts to kill the respected Helvetica, however, are so good natured. Type designer Bruno Maag was recently interviewed for Creative Review and gave a pretty stunning critique against Helvetica and its use.

It’s quite poorly crafted and has become completely overused. People go on about Arial and how awful it is, and Comic Sans, what an atrocity that is, why not the same about Helvetica?

Maag’s critique is relentless, and I must admit it was a bit of a refreshing read, if not slightly melodramatic. As an alternative to the Helvetica beast, Maag has produced his own solution, the first “opposition font” I’ve ever heard of, called Aktiv Grotesk.

In terms of design usage, seeing new pieces with Helvetica on a Vignellian scale is probably behind us. I do find myself wondering: in another five decades, will there be another typeface that could truly rival Helvetica?

(Design) Progress in Washington

 

 

 

 

 

 

 

 

For any follower of design, subway maps are a well traveled stop along a lifetime education. From Harry Beck‘s original London Underground Tube Map originally design in 1931 to the many iterations of the same principles in several other cities maps today.

Beck’s driving principals that moved London’s subway navigation from anarchist spaghetti to modernist order will probably stand in transit maps forever. But in one city, there is the possibility of the most drastic update from this style yet.

After a bizarre half-spec work half-contest, Washington DC’s transit association has gotten serious and (re)hired Lance Wyman to redesign the original Washington Metro map that he designed over 30 years ago. The existing map follows in the footsteps of Harry Beck and Massimo Vignelli’s design for the New York Subway.

The redesign is prompted by Washington DC’s ambitious plan to add a line to Dulles airport (conveniently after I have since moved from Washington), and to integrate several new train transfers and existing line changes. While according to the Washington Post the design will retain “its clean, classic look”, Wyman dropped some hints on new elements he will be adding, which do sound like new developments to the now solidly tried and true modern transit map style. Such hints include silver for the new Dulles Airport line color (whether this is metallic, which would be a drastic change, or some type of gray remains to be seen.) And also an increased reliance on iconography.

Washington’s place as being a city of monuments also provides several challanges since several station names have ballooned to virtual run-on-sentence length. Wyman introduced the possibility of a more structured icon system to free up space as opposed to even more verbiage attached to each station.

“It’s always easier when you have less to put on,” he said. “You want a distinctive look that works for people who live in the community and for someone who’s from China, speaks no English and is trying to find his way.

from The Washington Post

The project, which should be unveiled in the Fall, is estimated to be part of a $50,000 contract. Wyman is working with a team of three, and the specific deliverable known so far don’t include anything past the map.

After spending 4 years in Washington, 90% of which felt like it was spent waiting for the Metro (which i rebelliously insisted on referring to as “the subway”) it seems like at least in this case, that WMATA got the right team to solve some problems.