“His paintings were successful in a way that is rare and precious — they enabled us to see the places we overlook every day and to recognize that, in spite of its ominous industrial overtones, the city is shot through with a luminous, electric vitality and a psychological potency verging on the mythic.”
Study for Corporate Rise, 1986City Of Glass, 1991The Last Painter on Earth, 19834WD, 1983
I came across some lovely photos of some vintage Herman Miller pieces today (h/t @architeckure on Threads). This lead me down a rabbit hole of the designer at Herman Miller who created these workstations.
The man behind the desk (so to speak), is George Nelson. He was a lead industrial designer at Herman Miller from 1945 to 1954. Sometime before that, he was an avid design writer. He contributed to magazines like Architectural Forum and in later years, published several books on architecture and design thinking.
In 1959, Nelson and others designed and built the “Comprehensive Shelving System,” the CSS as it were — this pre-dates the Dieter Rams Vitsoe Shelving System by a few years
Nelson’s contributions to mid-century decor and Herman Miller’s aesthetic remain steadfast and important. His workstations and office furniture are astounding.
Following mounting pressure from regulators in the UK and EU, Adobe and Figma announced on Monday that both companies are mutually terminating their merger agreement, which would have seen Adobe acquire the Figma product design platform for $20 billion.
It’s a Christmas miracle! The competition in the field of creative/graphic design software is horrendous, so this is definitely good news if you’re a creative. The last time I wrote about this merger, I had a feeling the deal was going to be torn apart. Theoretically, this news means lower prices and more innovation down the road as Adobe and Figma compete for customers. This is also yet another sign that the United States has largely abdicated its regulatory authority to the European Commission.
Danny Elfman is a musical genius. The man really needs no introduction. But, for those who are unaware, a small sampling of his talents includes: The Simpsons, Nightmare Before Christmas, several Tim Burton films, Mission Impossible, Spider-Man, MIB, hundreds of collaborators, and that’s just abridged resumé. Batman (1989) was a groundbreaking movie at the time, and the score is iconic to say the least.
I saved an excerpt from his interview with GQ on the Batman score below because it’s simply amazing. Warner Bros. Studios wanted Elfman to collaborate with Prince to make a score for Batman. I don’t hate it, but it would have changed the movie in unimaginable ways I can’t even fathom:
I’ve never done anything harder than Batman because first off, I had to prove myself. You know, it’s like, okay, he’s the quirky comedy guy, and here I am doing like this Batman movie. Understandably, I think they were like, “uh, we need somebody who knows how to do this kind of music.” But, nobody knew what kind of music it was. There really was no superhero music. There was just Superman. And, we said we know we don’t want it to be Superman — John Williams.
And, then there was an element with the producer in the studio of wanting it to be a pop score. There was definitely this moment of like, “Danny, we want you to collaborate with Prince and co-write the score.” And I go, I can’t do that. People go, “you really said that?” I love Prince, but not for that score. I already knew what the score was, and I knew that if I collaborated, he’d be writing tunes, and I’d be orchestrating his tunes, and I would be essentially a glorified arranger rather than a composer, you know. Because he was world famous, and I was still nothing.
I had to walk away. I was so depressed. I felt like I just blew up my own career. And then a month later I got the call saying, Danny, you’re back on. It’s like this gamble paid off. But, it was a miserable period of time. On the other hand, I already heard the music in my head. I knew what it was, and I was determined that that was gonna be the score. The producer was so hard on me, John Peters, and then [they’re finally] he’s in — I think it’s the third presentation. And, I didn’t know how to do presentations.
I was playing this weird music stuff that was all like inspired, you know, crazy. And then Tim says, play the March, “play the March, play the march!” [That’s] what he called the titles. I go, “oh yeah, I got this piece here.” And of course, now I know, you lead with your headline, obviously. I didn’t really know, or understand that back then. And I put this piece of music on, and John starts conducting in his chair. And then at a certain point he stands up, and he’s going like this. [Danny waving his arms like a conductor] Tim looks at me and he’s like [Danny laughing], “yeah, we got it.”
I was re-organizing some of my bookmarks and discovered some old gems. Among them was an amazing design resource I have long forgotten about: Logobook – Discover the world’s finest logos, symbols and trademarks. Note: unfortunately this website does not have a SSL Certificate so it’s only accessible over http
Certain themes keep appearing. Lauren likes his rooms deeply colored, highly dramatic and turned inward. He prefers mahogany paneling and Georgian furniture polished like glass, and Persian carpets on their way to threadbare. Tartan, which most interior designers regard as a novelty, seems natural to a fashion person and is used with abandon. The dining room draperies are like great fringed kilts; tartan pillows and throws and runners are everywhere; and there are many collections of antique plaid metal boxes and accessories.
I mean. This level of comfort is just delicious. Seeing that hearth in front of the tub, quite something to behold.
Susan designed the icons for the Macintosh’s graphical user interface. At the time, the notion of a GUI was revolutionary: just a few years prior to the Mac’s release, people could only interface with a computer through arcane commands written in code. By providing an image-based way to execute computer commands, the Macintosh made computers more intuitive and less intimidating.
As part of the original Mac team, Kare created some of the first digital fonts, the UI for MacPaint and some of the most persistent icons in computing such as the trash can/bin, the save disk and the smiling Mac. Kare added to the UI an element of friendliness and emotion. The icons that she designed were playful and simple enough to be recognisable to users around the world.
I am particularly taken by this image from Kare’s sketchbooks. A beautiful icon. Strikingly simple, yet infinitely complex. An icon that gave birth to thousands if not millions more since.
Truly devastating. Ryuichi Sakamoto dies at 71. Cancer claims another great. One of the greatest pioneers of electronic music. An early adopter, a vanguard of just so much. His influence alone was revolutionary and profound. He was deeply beloved, and considered to be the father of J-pop and other synth-pop influences.
From Pitchfork:
“While undergoing treatment for cancer discovered in June 2020, Sakamoto continued to create works in his home studio whenever his health would allow,” Sakamoto’s management, Commmons, wrote in its statement. “He lived with music until the very end. We would like to express our deepest gratitude to his fans and all those who have supported his activities, as well as the medical professionals in Japan and the U.S. who did everything in their power to cure him. In accordance with Sakamoto’s strong wishes, the funeral service was held among his close family members.”
The man knew how to create magic out of thin air. I mean just listen to this stuff:
One of the most significant static images in the history of computer graphics, The Road to Point Reyes is one of Lucasfilm’s most important early projects. Begun in 1983, Rob Cook directed the image and conceived the scene, while Alvy Ray Smith, Loren Carpenter, Tom Porter, Bill Reeves, and David Salesin provided various elements including shading, hidden surface routines, and fractals. The single image, which Smith has described as a ‘one-frame Movie,’ took a month to render, and was eventually displayed at The Computer Museum in Boston.
Allen Armstrong, CEO and founder of the Castle Dome museum, mine and ghost town where Schlichting made his find, had previously explored the same shaft but missed the trove of jeans, coming within 20 feet of it. He did, however, find a pair of Levi’s 201s—a lower-priced version of the classic 501s, created around 1890 with cheaper buttons and a linen label rather than leather—on his first rappel to the shaft two decades ago.
To authenticate the Levi’s, Armstrong turned to Levi Strauss & Co. historian Tracey Panek, who drove out from California. “She carried [the jeans] around for two hours like they were a little kid in her arms,” says Armstrong.
Joywave, a rad indie band that hails from Rochester, New York is known for their penchant for the meta and the weird. Just watch their 2015 music video for Somebody New and you’ll see what I mean. In 2019, Joywave released the single Obsession, in preparation for the full-length Possession slated for March 2020. The single came with goodies, a delicious music video that is oozing with nostalgia and American culture.
Here’s a few of my favorites stills from the music video:
The music video is well produced. It’s also very visibly Los Angeles. THat’s not a slight either. It’s really beautiful. It has the weight of a hundred films, and shows just how flexible the Los Angeles landscapes can be for filmmakers. Check it out:
