In Memoriam: Peter Christopherson

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Peter Christopherson – legendary commercial artist, designer, photographer, videographer and musician – passed away last week on November 25.

In 1974, Christopherson joined forces with Storm Thorgerson and Aubrey Powerll at Hipgnosis and went on to create many famous album covers including Pink Floyd's Wish You Were Here, Animals and Peter Gabriel's first three solo albums – most notably the legendary "melting face" artwork. For the record, Christopherson said this regarding his time at Hipgnosis:

"I worked as a free-lance photographer and contributor, then promoted to an assistant to Hipgnosis before becoming a partner, and continued to act also after I officially left the organization. So my contributions range from attempted but rejected artwork or design work, to partial contribution in either/both as an assistant, to being fully responsible for all design and artwork, such as the Peter Gabriel LPs. What you wish to document is up to you."

Christopherson went on to form Throbbing Gristle, early pioneers of industrial music, only to later join Psychic T.V. before forming his own group, Coil. As a music video director, he worked with Ministry, Nine Inch Nails, Robert Plant, Rage Against the Machine, Sepultura, Paul McCartney, The The, Van Halen, Yes, and many more.

Information Graphics: Government Style

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The Environmental Protection Agency (EPA) has created a redesign of its Fuel Economy and Environmental Comparison labels that are legally required to be posted on all new vehicles for sale in the U.S. Information graphics are a challenge on any given day but especially so when it's dealing with such a hot button topic.

FROM THE EPA:
All new cars and light-duty trucks sold in the U.S. are required to have a label that displays fuel economy information that is designed to help consumers make easy and well-informed comparisons between vehicles. Most people recognize the current label (or “window sticker”) by the gas tank graphic and city and highway Miles Per Gallon (MPG) information. EPA has provided fuel economy estimates in City and Highway MPG values for more than 30 years.

EPA and the National Highway Traffic Safety Administration (NHTSA) are updating this label to provide consumers with simple, straightforward energy and environmental comparisons across all vehicles types, including electric vehicles (EV), plug-in hybrid electric vehicles (PHEV), and conventional gasoline/diesel vehicles. The agencies are incorporating new information, such as ratings on fuel economy, greenhouse gas emissions, and other air pollutants, onto the label as required by the Energy Independence and Security Act (EISA) of 2007.

The agencies are proposing two different label designs (see right) and are eager to gather public input. Specifically, which design, or design features, would best help you compare the fuel economy, fuel costs, and environmental impacts of different vehicles.

I voted already! For your chance to do the same, go here.

The House That Nat Built.

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While working for Capitol/EMI as an in-house Production Designer, our Creative Services department was eventually moved into the legendary digs of the Capitol Records tower in Hollywood. I couldn't have been more thrilled, of course, especially when I was granted my own office on the 8th floor with windows and a full view of the Hollywood sign and its rolling hills.

And not unlike Richard Dreyfuss in "Close Encounters of the Third Kind" with Devil's Tower, I had a penchant for drawing the tower during meetings, at home, etc. Thankfully, of course, I never worked into mashed potatoes or worse. Included above is one such drawing of mine from 2008, done from memory.

As a buff of both history and music, I reveled in the every square inch of its circular interior, as designed by architect Welton Becket. From attending staff mixers in the historic Capitol Studios having access to Frank Sinatra's microphone and Nat King Cole's piano to seeing the likes of Barry Manilow and more in the lobby and thinking of every artist who walked those halls from The Beatles, Beach Boys and Les Paul to The Band and Beastie Boys. Indeed, the tower and its past were a constant source of inspiration for both me and my design.


* All photos by yours truly except lower right, taken by Steve Silvas.

To download a 34 page, 4.5mb PDF I created featuring historic images, postcards, beautiful pages from the grand opening booklet from April 1956 and more – simply email me at baygrowits@yahoo.com and I'll send it your way.

A MAN ALIVE DESIGN PORTFOLIO SITE

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Looking ahead to a new calendar year, I wanted to create a PORTFOLIO-specific site that would allow my work to be viewed with ease while also allowing the blog to stand on its own exclusively as a blog. New work, along with a weekly blog, will continue to appear here at the Blogspot address of course. To visit the portfolio in the future, feel free to click on the links to the right to access the portfolio site at any time.

While always a tedious venture, going through one's professional archives is a fun experience to see what pieces stand out after all of these years. Naturally, I focused on work over the past 3-4 years but occasionally an oldie-but-goody will appear now and again for good measure!

Check it out at your leisure and, as always, thanks for stopping by. – Cheers, Tom b.

Roger Gorman & I at PCA&D

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On Friday, November 12th at 10:00 a.m., I'll be hosting an open-to-the-public Q&A between Roger Gorman & I in the Atrium at PCA&D. Roger's work has been honored with design awards from the Art Directors Clubs of New York and Los Angeles, the Society of Publication Designers, the American Institute of Graphic Arts, ID magazine and Print magazine. His music clients range from Metallica and Helmet to David Bowie and John Lennon while his corporate clients include MTV, VH-1, Coca-Cola, Bacardi, Exxon, and more.

As the founder of Reiner Design, graduate of St. Martin's College of Art & Design in London and Grammy-winning designer of David Bowie's Sound + Vision box set – Roger & I worked together on several projects, most notably the highly-acclaimed coffin box set for The Misfits where Roger brought to life my vision for the packaging as I cared to my A&R duties.

Together Roger & I will be discussing his entire career, sharing anecdotes of designing for the music, corporate and publishing industries, and delving both verbally and visually into many works from his archives..

2010 Collage Annual Report

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Featuring cover art by students Sean Marley (left) and Julianna Jordi (right), the 8-page, the 2010 Collage Annual Report is complete. Front cover art is above while the back cover is below.

A Momentary Gap In Reason

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Regardless of whatever Marka Hansen, Gap North America's President, has to say – the idea to update the Gap logo isn't the problem. In fact, the idea makes perfect sense after all this time. It's the design itself, however… well, that's another story altogether. Whose fault that is, be it Gap's, the agency who drafted the logo or a combination of both, is not mine to decide. Only those involved in the process will ever truly understand where the blame lies. And in a design sense, there's plenty of blame to go around.

A logo that has more to do with "actual student work" than an iconic clothing retailer has no business seeing the light of day. As a teacher, I wouldn't have accepted its cold, bruised blue and black scheme, its pedestrian use of Helvetica (including the bastardized "G") and its overall lack of imagination from a 2nd year design student – let alone an art director and subsequent team of designers doing work on behalf of a multi-billion dollar company.

In the end, Gap Inc. clearly don't get what happened here. “We’ve learned a lot in this process,” Hansen added. “And we are clear that we did not go about this in the right way. We recognize that we missed the opportunity to engage with the online community.” No, Ms. Hansen, you went about this the right way but did so with the wrong design. It's that simple.

With that said, good luck to Gap Inc. as they pander to their customer base with both withdrawn crowd sourcing and statements like the one above. They've started sliding headfirst down a very slippery slope and I, for one, applaud the public for bashing this horrendous work of design.

For more, go here and here.

In The House Industries Cul-De-Sac…

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WHAT: Field trip for the History of Communication Arts studio class
WHEN: Friday, October 15th, 2010
WHERE: Brandywine River Museum, House Industries

The classroom can be a bubble if you you don't get outside of it once in a while, of course, and this field trip created a powerful combination of traditional applied arts, materials, techniques and contemporary work steeped in tradition. After a morning spent at the Brandywine River Museum, soaking in American works from both the fine and applied art worlds, our group moved to House Industries for a personal tour of their offices. Although I've had a relationship with the House guys for 13 years and even had them to PCA&D as guest speakers back in 2008, I hadn't visited their headquarters. So, for me as well as for the students – this was a treat.

The ever-gracious Andy Cruz (co-founder, co-owner and art director) and Brian Awitan (security, muscle and all-around ambassador) were joined by Ben Kiel (type master, teacher) for both a 2:15 and 3:15 tour for our students. During the 3:15 tour, we were joined by Rich Roat (co-founder, co-owner and operator) and Ken Barber (type master, teacher) as well. Hijinks ensued throughout the afternoon, for sure. Stories, laughs, inside jokes and memories of grandiose mistakes made along the way were shared with the students. There's no one single path to success and it's safe to say that House paved their very own unique one.

As a collective, the students were presented with a variety of image and business-based concepts including press sheets, illustration originals, type design, printed finals, the soon-to-be-launched Photo-Lettering website and – most importantly – the passionate philosophy that made House Industries one of the elite studios of our generation.

It was a lot to soak in, for sure, but hopefully everyone left looking at typography and illustration in a whole new way. For as much as I already knew about House already, I know I did…



"You had better watch your back
When you're in my cul-de-sac.
'Cause there ain't no goin' back
If your mom's Volvo gets a scratch."
– Badneck "Suburban Curse"
(taken from the Blaktur font package CD)

A "Double Elephant" Folio for the Record Books

(above images by Lefteris Pitarakis / AP)

As both an environmentalist and a vegetarian, I consider John James Audobon's illustrated works in Birds of America to be both inspiring artwork as well as works of reflection. Bold and brilliant in every way, Audobon's beautiful pieces showed the world what natural and mesmerizing beauty inhabited this country's shores – still largely free of human influence.


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Published as a series of sections between 1827 and 1838, No. 11 of the 100 or so remaining copies is going up for auction on December 7th at Sotheby's London. The collection of 435 hand-colored prints, created from engravings of Audobon's illustrations, measures more than 3 feet by 2 feet because Audobon wanted to paint the birds life size. By doing so, Audobon was quoted as calling this edition the "double elephant" folio.

Interested? Expect to bid between 4 million and 6 million pounds, or $6.2 and $9.2 million. After all, a copy sold at auction in 2000 for $8,802,500, which remains to this day a world record for any printed book.


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This Boy Loves Country Design…

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Hitting the stores on October 12th on Capital Nashville is Trace Adkins' The Definitive Greatest Hits: Til The Last Shot’s Fired 2xCD collection. Please note that for anyone buying the album on iTunes, I created a digital booklet featuring the full package art for this release as well.

Overall, I wanted the collection to have a cohesive look and in order to help me achieve that, I worked exclusively with a beautiful photoshoot by Kristen Barlowe. Without question, the quality of the images allowed me do so much more with the design as they truly captured the essence of Trace's character and image.