I adore, I adore this moment in Just Kids.
Had to reblog because I’m reading this right now and it showed up in my dash, what are the odds.
This week, change is coming to The Atlantic. Stay tuned.
Waiting to hear that the one in black is the *before.*
(Source: designersof, via mood-fondevilla)
(Source: sensational-sexbot, via dannielle)
(via Insights Design Lecture Series 2013: Surface Readings — The Gradient — Walker Art Center)
(via banquethall)
Whites are taught to think of their lives as morally neutral, normative, and average, and also ideal, so that when we work to benefit others, this is seen as work which will allow ‘them’ to be more like ‘us’.
— Peggy McIntosh, 1988 (via eibmorb)
(Source: bokononish, via areyouoverityet)
I never talk about this kind of graphic design but I’m always interested in it when I see it. I assume the elements here – some ordinary serif combined with Futura (I think); navy blue and white; no illustration but a marble texture – are meant to look mundane, meant to look like those hyper-academic library books of the ’70s, ’80s, ’90s – those books that are too absorbed in their own studies, and unconcerned with public consumption, to be stylish. The above set of books, to me, is like a parody (or an appropriation) of that. But why would it be?
Why is the broader trope – simple (centered or otherwise naïve) type; solid colors; single-color photos – so popular?
So, as much as it pains me to say it, I was forced to give in to the very concept I said I wouldn’t allow myself to be a victim of. Two nights ago, my boss faced me with a choice. Told me that if I couldn’t fit all of my super thick hair, pulled back, into one of their tiny ass company hats, then I wouldn’t be able to come in for my next shift & stay employed by his business. So as a result, my physical image has now shifted into a product of modern opinionated eurocentric judgemental standards.
3 whole years of progress buzzed onto the floor.
Rent has to get paid.
Simple as that.
(via areyouoverityet)
![banquethall:
I’m admittedly a bit over-vocal to my peers about how much I dislike [what I consider] the East Coast Graphic Design Tradition. As a student of fashion, musical sub-cultures, other cultures in general, nothing about Glaser or Rand’s work struck me as true. I felt appreciation for the formal qualities of their reductivism, yet alienated by what felt like packaged good feeling sung to an Us Versus Them tune. I refer to that [distinctly and unfortunately American] work as “one-liners”, partly because it stalls serious consideration, past maybe a few inches. Design is not and never was a mass duke-out to see who’s wittier and quicker in cheerfully solving X or Y. If its students see themselves as commodities in competition for the attention of creative directors and ad agency budgets, we continue to disservice meaningful collective dialogue and lock ourselves further into complacency. Long-term effects range from the literal (poorly balanced pay scales) to the less tangible but more grave (a skewed way of engaging with our surroundings and manufacture).
In light of the rather unfortunate decision made above, I return to this quote from Harsh’s post on The New Graphic. When you aren’t trying to design the punchline, you can come up with ethically sound ideas that are free from ego. I prefer this.](http://25.media.tumblr.com/a90a2a3978b829cf996ae8cb78603b06/tumblr_mgqw0gzunr1qcvwrgo1_500.jpg "banquethall:
I’m admittedly a bit over-vocal to my peers about how much I dislike [what I consider] the East Coast Graphic Design Tradition. As a student of fashion, musical sub-cultures, other cultures in general, nothing about Glaser or Rand’s work struck me as true. I felt appreciation for the formal qualities of their reductivism, yet alienated by what felt like packaged good feeling sung to an Us Versus Them tune. I refer to that [distinctly and unfortunately American] work as “one-liners”, partly because it stalls serious consideration, past maybe a few inches. Design is not and never was a mass duke-out to see who’s wittier and quicker in cheerfully solving X or Y. If its students see themselves as commodities in competition for the attention of creative directors and ad agency budgets, we continue to disservice meaningful collective dialogue and lock ourselves further into complacency. Long-term effects range from the literal (poorly balanced pay scales) to the less tangible but more grave (a skewed way of engaging with our surroundings and manufacture).
In light of the rather unfortunate decision made above, I return to this quote from Harsh’s post on The New Graphic. When you aren’t trying to design the punchline, you can come up with ethically sound ideas that are free from ego. I prefer this.")
I’m admittedly a bit over-vocal to my peers about how much I dislike [what I consider] the East Coast Graphic Design Tradition. As a student of fashion, musical sub-cultures, other cultures in general, nothing about Glaser or Rand’s work struck me as true. I felt appreciation for the formal qualities of their reductivism, yet alienated by what felt like packaged good feeling sung to an Us Versus Them tune. I refer to that [distinctly and unfortunately American] work as “one-liners”, partly because it stalls serious consideration, past maybe a few inches. Design is not and never was a mass duke-out to see who’s wittier and quicker in cheerfully solving X or Y. If its students see themselves as commodities in competition for the attention of creative directors and ad agency budgets, we continue to disservice meaningful collective dialogue and lock ourselves further into complacency. Long-term effects range from the literal (poorly balanced pay scales) to the less tangible but more grave (a skewed way of engaging with our surroundings and manufacture).
In light of the rather unfortunate decision made above, I return to this quote from Harsh’s post on The New Graphic. When you aren’t trying to design the punchline, you can come up with ethically sound ideas that are free from ego. I prefer this.
