Marian Bantjes

The widely admired typographic artist, illustrator and designer, Marian Bantjes, recently gave a lecture at the Corcoran Gallery of Art + Design. Several of us had the opportunity to attend.

Wearing the many hats of artist, designer, typographer and illustrator, Marian Bantjes considers herself a graphic artist. Known for her complex and labor intensive typographic illustrations, some of her more well known commissions include the store display for Saks Fifth Avenue and Wallpaper Magazine.

Marian Bantjesʼ work encourages the viewer to linger, decipher, pause and contemplate. Its beauty attracts the viewer and the details draw you in further. At first glance, it is easy to dismiss the work as pure ornament, but you soon realize that there are hidden messages and subtleties intertwined with the intricate line work and object placement. It is the antithesis to what is considered successful graphic design today because it is not straightforward, clear and apparent—it does not attempt to cater to todayʼs world of expected instant gratification. Still, she maintains a sense of calm in the overwhelming amount of detail by adhering to a strict grid—a nod to her training as a typesetter.

In discussing her latest work, I Wonder, Ms Bantjes brought us through her process. Unexpected sources of inspiration ranged from the mundane and ugly (street signs in her hometown), to the very beautiful (religious art and iconography), to the overlooked (childrenʼs pasta art). Her work, with meticulous detail and intricacy often associated with illuminated manuscripts, aimed to bring honor to each of these art forms. The end result is a designerʼs dream—a union of concept, story and graphics in a way that one could not exist without the other. Through careful deliberation and much exploration, this is what we ultimately aim to achieve—work that instills a sense of wonder which is in fact, entirely by design.

— Greg

New video for NAEP

The Department of Education asked Levine and Associates to create a video introducing the National Assessment of Educational Progress—the Nation’s Report Card to high school seniors. In the video, students learn about the assessment, how the results are used, and why their participation is important.

Are people more predictable than you might think?

The short answer is yes. Jess and I recently attended Usability Week 2010 in San Francisco. We particularly enjoyed hearing from one of the key presenters, Jakob Nielsen, who talked about fundamental guidelines for web usability. Designers are tempted go with what’s "new and different" on the web, but Nielsen’s talk confirm our sensibility that sticking to more intuitive methods of navigation and menu structure helps users find the information they need on a site more efficiently, building trust and brand loyalty.

We came away from the week excited to apply a deeper understanding of user-centered design, usability, information architecture, emerging design trends and the psychology behind how people use the internet. We’ve already begun experimenting with a sorting and organization methodology for a website we’re currently working on.

— Jennie

Interview with Rafael Lopez, illustrator

Recently, we had the pleasure of working with Rafael Lopez, a San Diego-based illustrator, on a publication for the National Institute on Aging. He handled the sensitive subject matter (caring for aging parents) with sympathy and finesse. We were curious to find out more about Rafael, and he was kind enough to talk with us last week about his process, his inspiration, and his gorgeous studio. We thought our readers might appreciate a glimpse into the life of this talented illustrator.

Can you describe your medium of choice? What do you like most about working with this particular medium?

I learned traditionally. I went to Art Center College of Design in Pasadena. I was there before computers were brought in, so I’m from the old school of painting. I paint with acrylics on wooden boards. The wooden boards are great because they have cool textures I can’t get on papers and canvas, and I like to take advantage of these textures.

What are the main inspirations behind your work? How do you stay inspired?

Being from Mexico, I am especially drawn to rich colors and textures. I’m drawn to the primitive quality of art; in part I’m inspired by the folk art in Mexico. I like the simplicity in the drawings I see down there and try to bring that into my work. My style is childlike, on purpose. I can draw realistically, but I choose not to. I spend about 3.5 to 4 months every year in Mexico City, which is where I’m originally from, and I’m inspired by what I see during these travels.

When it comes to ideas, I like to find symbols that represent my ideas. I try not to do things literally—I find objects/symbols to represent the concepts that I’m after.

Where do you work? What does your studio look like?

I live in an old warehouse from the 1920s, a building that I bought about 15 years ago. My wife and I started reconditioning it because it looked like hell. It was dilapidated, gloomy, depressing…Slowly, we’ve been taking on one project at a time and turning it into a studio/loft. It has two floors and my studio is on the lower level. So, all of the painting and the mess is downstairs.

Many of the colors I use, I purchase in Mexico in these giant jars. These are very hard to get in the States. I use these for the large areas in my paintings because they’re cheap, bright and beautiful. For the finer details I use the more expensive Liquitex in tubes that you can buy at the store. I have a dining table behind my desk that’s filled from one end to the other with all of these paints.

What types of projects do you usually work on, and how many do you take on within any given year?

Sometimes I am working on 5 projects at a time, sometimes I only have one during a 2-week span. I like to have about 7-10 projects per month.
 
My current project is illustrating a children’s book – my 6th children’s book. It is about the life of Tito Puente, the Mambo King. My wife is a professor, and a really good writer, so most of the books have been a collaboration with her.

Children’s books are a large undertaking. It takes a year and a half for the whole process from start to finish. I personally like to keep it to one book a year, although I know illustrators who turn out 2 or 3 or more books a year. Because of my style and technique and my desire to maintain conceptual quality (and the fact that my wife wants me to be around) I keep it to one a year!
 
Some of my other books are: My Name is Celia, about the life of Celia Cruz; Yum! Mmmm! Que Rico!, about foods indigenous to the Americas; and Our California, a guided tour of California, done in a pretty funky style reminiscent of what a child would remember from their travels.

So Far Away

According to the National Institute on Aging (NIA), Americans over 85 are the fastest growing segment of the population. This fact, combined with a global economy which results in people often living hundreds or even thousands of miles from their parents, means that millions of adult children are now forced to become caregivers from a distance.

With their revamped publication, So Far Away: 20 Questions and Answers for Long-Distance Caregivers, NIA has culled the most useful information for long-distance caregivers into a guide that is intended as both a practical resource guide and sympathetic handbook to the caregiver’s emotional journey. The illustration style of Rafael Lopez was perfect for portraying the highly sensitive topic. His vibrant, colorful paintings elicit a strong emotional response from viewers, and his highly conceptual approach was ideal for conveying the abstract ideas of time, care, love, and distance.

Check out our recent entry on an interview with the illustrator, Rafael Lopez

Good to see more of Seymour

A group of us went to the Corcoran last week and saw Seymour Chwast speak about his 50+ years in the design business. He founded the infamous Push Pin Studios with Milton Glaser, Edward Sorel, and Reynold Ruffins in 1954.
 
Mr. Chwast began his story with a baby picture and a funny anecdote about his immigrant parents accepting his desire to be an artist—once they learned that artists could make a decent wage of $25 a week working for Walt Disney. He kept drawing and never looked back. His self-chosen moniker “the left-handed designer” is easy to understand when you see the powerful social commentary that he has consistently brought to his work decade after decade. One interesting observation Mr. Chwast made is that, if you see a particular illustration style in an advertising campaign, then it has reached maximum saturation in the design world and is no longer cutting edge. 
 
He is currently intrigued with the medium of the graphic novel, admiring in particular the work of young, upcoming illustrator Chris Ware. Mr. Chwast is staying very busy, despite being nearly 80 years old. He recently published an illustrated interpretation of Dante’s Divine comedy and he is currently working on an illustrated version of the Canterbury Tales.

— Monica

Creating just the right impression

Our clients at Children’s National Medical Center were preparing for a goodwill-building trip to the United Arab Emirates and asked us to develop a printed piece for current and potential benefactors. The insights into the UAE culture we gained during our experience working with their embassy proved to be fundamental in our recommendations to Children’s National.

Knowing that each piece would be personally handed out led us to think about the brochure symbolically as a gift. A pared down design style would tell the story of the medical center simply and directly, and premium print materials would evoke the prestige of this world-class institution. Produced in English and in Arabic, the final piece created just the right impression for this important audience.

What we’re reading: Designing Design, Kenya Hara

Designing Design
by Kenya Hara
2nd Edition, Lars Müller Verlag, 2007

I recently read a book showcasing the work and thinking of Kenya Hara, an influential designer and design professor from Tokyo, Japan.
 
Designing Design delves into Hara’s packaging, lighting, environmental, haptic, print, and exhibition design, all of which exemplify the concept of "emptiness", a key element in Japanese philosophy and culture. The “emptiness” that Hara explores refers not to lack of design or adornment, but to the tension and possibility inherent in placing an object into a space devoid of anything else. Beauty and meaning are found as much in the negative space surrounding an object as they are within the object itself. This pared down simplicity, where objects and art are distilled to the bare essence of an idea, is one of the hallmarks of the Japanese aesthetic, and of Hara’s prolific work.
 
Reading this book reminded me that the benefits of immersing ourselves in the work of other designers around the world are immense. It allows us to develop a global perspective that permits us to not only see different design philosophies, but to understand different cultures, traditions, and audiences.

– Marco

Weathering the storm

The United Brotherhood of Carpenters (UBC) debuts it’s 5-Year Annual Report at their conference later this month. This will be the third report we’ve done with them, in a relationship spanning more than 15 years.

The financial climate of the past five years has been challenging, and the report demonstrates the seriousness and intensity with which the UBC has tackled the demands of economic recession and hardship. Pulling from the UBC’s extensive archives, hard-hitting photography and bold graphic treatments give concrete form to the UBC’s laser-like focus on preparing a skilled carpenter workforce for the 21st century.

This is not the first recession the UBC has weathered, and the 2010 report tells the story of a strong and enduring union.

Celebrating 200 years of Chopin

I discovered the Luxembourg Gardens “Chopin Festival in Poster” exhibition on a recent visit to Paris. The beautiful, strong, graphic designs were so consistently impressive, that I took some snapshots to share with our studio.

In cooperation with the Polish Parliament, UNESCO has declared 2010 the “Year of Chopin“ in celebration of Fryderyk Chopin’s 200th birthday. The exhibition features approximately 50 works by Polish artists, each promoting Chopin-related events in the coming months.

The posters appeared courtesy of the Wilanow Poster Museum, the first museum dedicated to artistic posters. The collection is one of the largest and most complete with over 60,000 items, spanning the end of the 19th century to contemporary times.

— Monica

Style and statesmanship

We were honored to design a series of personal greetings from His Excellency Yousef Al Otaiba, the Ambassador of the United Arab Emirates to the United States of America. Entrusted by the embassy to develop a unique suite of materials communicating the Ambassador’s personal vision, we were able to step beyond typical policy-driven materials to design cards for events of both national and personal significance, all while reflecting the historical and cultural importance of Arab celebrations.

Before ideation, we extensively researched Arab culture and interviewed embassy staff and friends.The design approach combines tradition with progress, history with innovation, from the paper’s tactile impression to the use of color that spans the series.

Our design for the embassy website has helped to set a visual tone for embassy communication. This card series is a direct extension from that aesthetic, deepening bonds with constituents, and creating the right impression for better understanding between nations.

Bayeux Tapestry: visual storytelling for the Middle Ages

When I first heard of the tapestry, the sheer scale of it fascinated me. Two hundred and thirty feet long and just eighteen inches tall, the tapestry is displayed in a tall darken hall, protected from the ravages of daylight by a protective glass. Gathering with visitors from all over the globe, audio guides to our ears, the epic tale of William the Conqueror unfolded as we slowly inched by each of the 58 scenes. 

Four hundred years before the Gutenberg Bible, storytellers detailed the events leading up to the Battle of Hastings on October 14, 1066 where William defeats Harold II. Embroidered stitch by stitch on linen cloth using wool thread the sheer amount of work that it took to complete was mind-boggling. I had waited for decades to see this and it proved to be a highlight of my travels in Northern France this summer.

Annotated in Latin and rich in detail, the Bayeux Tapestry chronicles the Norman conquest of England, capturing early medieval life, fantastic battle scenes, royal society and court intrigue. Even the passage of Hailey’s Comet is documented, seen as an evil omen for Harold. Above and below the illustrated story in bordering bands are details denoting the seasons, wild animals, odd symbols and humorous asides to the action in the center. A repeated tree image acts as a visual separator of each scene.

The tapestry has survived beautifully, intact with the exception of a final seven yards. It is speculated that the two missing panels likely depict the coronation of William as King of England. Is this a true telling of the events or political propaganda? Many aspects remain mysterious and are studied even today by scholars. Completely unique and a world treasure it has recently been added to the UNESCO “Memory of the World” Register.

— Monica

Images taken from a scaled down print souvenir version. Click here for an animated version of the action.

NAEP featured on NBC Nightly News

Once again, the National Assessment of Educational Progress (NAEP) is in the news. NBC Nightly News recently ran a story on the results of the NAEP tests, which are taken by roughly 340,000 students across the country, and show students’ overall academic progress in both reading and math. The results, according to NBC’s Rehema Ellis, are dismal, showing that over a two-year period, eighth and fourth grade reading scores improved only slightly or not at all. Only 33 percent of fourth graders were proficient or better in reading, while just 32 percent of eighth graders were reading at grade level. The results have led critics to charge that too much emphasis is placed on test results in the educational system, instead of on actual teaching.

Aside from the thrill of seeing a report we’ve designed spotlighted on the evening news, we are glad that these sobering results are getting so much national attention.

Campaigning for chemistry

The American Chemical Society’s (ACS) campaign for their Chemistry Ambassador program encourages ACS members to become spokespersons for their profession, helping to increase public awareness and appreciation for the role chemistry plays in everyday life. The logo needed to reflect honor and prestige, as well as scientific accuracy.

Initial design concepts for campaign mark:The client selected the ambassadorial ribbon approach, and asked us to explore imagery based on fullerene molecules—or “buckyballs”—named for Buckminster Fuller. The structure of spherical fullerenes closely resemble Fuller’s geodesic domes, a form rarely found in nature—a fitting metaphor for the exceptional qualities of professional chemists.

Keeping in mind that the mark would eventually be used as a lapel pin and appear on other ACS merchandise as conversation starters, we all agreed to simplify the illustration to a more basic form.

While the mark would be somewhat serious and “lapel worthy”, the print campaign would demonstrate how simple and easy being an ambassador could be. The print and web ads outlined the small things chemists can do to spread the word about the importance of chemistry in everyday life. And for fun, we created a T-shirt that has become a big hit with ACS chemists.