Alembic Design Consultantsworks for organisations of any size undergoing development and change, offering new products or services, or wanting to better manage presentation.We distil raw information and brand essence to create valuable, effective communications. |
Feather Times a Feather, 1987
Last month the musician/artist variously known as Don Vliet/Don Van Vliet/Captain Beefheart died after a long battle with MS. Much will have been written about his influence by now, but I doubt that his wilfully eccentric music, abstract poetry and visual works are too frequently cited as inspirational by many designers (over-rational control-freaks that we tend to be) but… they worked for me.
Satisfaction is an uncommon commodity. In the context of work and in tough times, its scarcity and value rises like that of gold—the accumulation of which for some is satisfaction. Designers cannot rely on generous material reward for their labours—with each project unique, there are few easy profits or economies of scale. Wealthy designers have usually arrived there via success in ‘business’ rather than designing alone. But we are pretty fortunate in other benefits that design activity can bring. Designers can often see, if not always touch, the results of their labour and although these might have limited life, their physical existence—and on occasion, their effect on others—produces fleeting glows of satisfaction. Good design also demands a healthy interest in the world that many professions and modern lifestyles discourage.
I recently re-read a book (remember those?) which I had all but forgotten since my late teens: Robert M. Pirsig’s Zen and the Art of Motorcycle Maintenance. It is not really about Zen, Art or keeping your Motoguzzi on the road. It is an odd piece of 70s autobiographical post-hippy-lit combining road trip, father-son relationship, nervous breakdown and fairly heavy (man) philosophical enquiry. It takes its time to get going, makes your head hurt here & there and although it does eventually offer some (unsettling) drama, a reprint is unlikely to give Dan Brown sleepless nights. Written at least 15 years before the the first personal computer, some of the language of this book is of its time (the word “groovy” appears at least twice without irony) but the relevance of its central theme—our relationship with technology—has increased a hundredfold.
I wrote on this blog some while back that I feared we were losing the art of decoration, in passing referring to Marian Bantjes as bucking that trend. With the publication of I Wonder she has singlehandedly rescued ornament & craft from untimely demise at the hands of modernist graphic design.
For those unfamiliar, Marian Bantjes is a Canadian illustrator/typographer/designer (there is no appropriate single word) living near Vancouver who after a decade in book typography and production reinvented her career to a extraordinary degree. She is a kind of missing link between contemporary design and the rich decorative craft traditions of the religious world(s). Her work is entirely secular but there is a strong sense of devotion in it, and she has a gift for creating something something truly extraordinary—spiritual even—from the most unpromising materials or observations.
How often do you feel really gripped by a piece of contemporary art? I don’t know much about art and am often unsure about what I like, but I like Fiona Banner’s ‘Harrier and Jaguar’ a lot. I wonder why?
Tate Britain’s Duveen Galleries are a special context. Tate Britain is so much more approachable than its Modern big sister which, much as I like the building, seems to engulf the ideas it holds, the gazillions of tourists pouring through not helping matters. Tate Britain has less space but the bigger picture – the broader context of art tradition a foil for the limited amount of contemporary works.
The sheer improbability of this 20th century hardware robbed of motion is enhanced by the neoclassical architecture. The Harrier is strung up like a hung gamebird, the Jaguar an impossible accident. The planes could not be more surreally out of context. We can experience their spectacular physicality up close and you can’t help but wonder ‘how did they get them in here’?
An illustrator, teacher and member of the editorial board of award-winning contemporary illustration magazine Varoom, Anna Steinberg creates beautifully drawn, witty and thoughtful images, some of which were recently selected for Images – Best of British Illustration and the London Transport Museum/AOI Cycling in London competitions. In this email interview she reveals the significance to her work of ingenuity, mountains, biscuits & old Bidies…
How do you work?
With professional commissions I usually problem-solve in words first and then develop through doodles into resolved pictures. With personal work I do visual experiments and it emerges more spontaneously.
Award-winning illustrator and creator of book covers for novels by William Golding, Iris Murdoch, Isabel Allende and Alice Walker, Cathie Felstead has illustrated numerous childrens’ books and worked for big-name clients like British Airways, Channel 4, Ballet Rambert and Oxfam. An RCA graduate, she also teaches final year Illustration at University of Hertfordshire. She talks here about inspiration, deadlines, Angela Carter, Industrial design, Cheryl Cole and Arsenal Football Club…
Do you think you have a particular approach to illustration? There is a difference between the work I do for clients and my own work. My approach to work for clients is quite businesslike: I get a script, look through it and see if there is something interesting about it… (a good fee can make the dullest script more interesting!). The starting point of an advertising job can be less engaging, and more of a challenge. Books and editorial work are generally more inspirational and better suited to my approach…
