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quote of note

Quote of Note | Naresh Ramchandani on the Name Game

nametag

“A name cannot only be spoken, it needs to be visually expressed, and it’s useful if it can look good when it is. Flower names, beast names, object names, time length names and space and size names all have good visual potential. I’m thinking Pointerdog for a search engine, Five Mile for a minicab firm, Ringlets for a children’s jewellery range. Names that have something interesting or attractive about their letterform also have good visual potential. I’m thinking MOOD with its circles and curves for a perfume, or Dignify with its two nice dots for an over-60s face cream. Don’t give a graphic designer an abstract name with awful letter forms and expect them to do a good wordmark or logo, or to be happy.”

-Pentagram’s Naresh Ramchandani in “How To Get a Name Right,” an essay published in the winter issue of YCN Magazine

Quote of Note | Marcel Dzama

“I’ve always remembered Where the Wild Things Are so clearly, which isn’t the case with most other children’s books. Wild Things was a favorite from the start. I remember looking at the images a lot and really studying [Maurice Sendak's] crosshatching at a young age—and even attempting to draw like him on my own. This was probably kindergarten, and so he was an early influence. All of the fantastic creatures—and especially the monsters…have such character and personality, and it’s so great that they’re not evil monsters but more co-conspirators. Maybe Maurice got me started on monsters and beasts, which pop in my work a lot, too.”

-Artist Marcel Dzama, in an interview with Spike Jonze that appears in Marcel Dzama: Sower of Discord, the sublime new monograph from Abrams

Quote of Note | Dan Neil

ford f-150

“Ford changed the game this week when it unveiled its aluminum-intensive pickup truck, the 2015 F-150, that is as much as 700 pounds lighter than a comparable steel-bodied vehicle. To the casual observer, the anticipated 3 mpg (20%) increase gained by Ford’s high-tech ‘light-weighting’ (a term of art) may seem marginal, but I assure you it is a figure of immediate and national consequence.

[Gives example of fuel economy gain and resulting net efficiency of Toyota Prius, which averages 50 mpg, with that of low-mpg vehicles like pickups, in which the fuel-saving effect is multiplied: to nearly four times that of the Prius, in his example.] Now reckon with the Big Multiplier: 763,000. That is the number of F-series trucks Ford sold last year, a figure that on its own would make the F-series the seventh largest vehicle company in the U.S. market. By virtue of the hundreds of millions of miles rolled up by the F-series annually, you are looking at the single biggest real-world advance in fuel economy in any vehicle since the Arab oil embargo.”

-Dan Neil, in his “Rumble Seat” column in this weekend’s Wall Street Journal

Quote of Note | Jerry Saltz on Kanye West

bound 2 kw

“’Bound 2′ is certainly a piece of work—as bizarrely gonzo and creepily asexual as Jeff Koons‘s hyperrealistic 1991 paintings of himself having sex with his then-wife Cicciolina, John Currin‘s 1989 paintings of Breck girls, and Marina Abramovic’s staring at spectators at MoMA in 2010. “Bound 2” is different: a freakish act of creation and destruction by appropriation. It stars Kanye and his fiancée, Kim Kardashian, and we see (along with the two of them) wild horses running in rivers, eagles flying to the sky, sunsets, purple mountain majesties, redwood forests, and gulfstream waters. It’s a teenage girl’s bedroom’s idea of romance crossed with Richard Prince‘s Cowboy photographs, American Romanticism, Celestial Seasonings packages, shampoo commercials, Iranian music videos, Thomas Kinkaid, beer ads, Jeff Koons, The Onion, Lars von Trier, the House of Fendi, and Jeffrey Deitch and his own uncanny 1992 prophecy ‘The Freudian model of the psychological person is dissolving…freed of the constraints of one’s past.” The New Uncanny is un-self-consciousness filtered through hyper-self-consciousness, unprocessed absurdity, grandiosity of desire, and fantastic self-regard.”

-New York art critic Jerry Saltz on Kanye West‘s “Bound 2” video, directed by Nick Knight

Quote of Note | Robin Derrick

porter logo

“The branding for the logo was designed to make the magazine look like it had been on the shelf for 50 years, and the challenge was to make it look both classical and also capture the digital newsness of the brand all at the same time. The capital-height lower case ‘e’ is given an italic emphasis to feminize the design, and is a subliminal wink towards the online functionality.”

-Robin Derrick, creative director of Porter, the print magazine from Net-a-porter that debuts next month on newsstands worldwide and via subscription.

Quote of Note | Jon Rafman

Jon Rafman
El Lissitzky Video Editing Suite (2011), part of Jon Rafman’s Brand New Paint Job series

“Digitally skinning an object in a 3D program is a simple process of changing the surface of an object or environment. That’s what I like about Brand New Paint Job—it walks the line between art and design by forcing High Modernist painting into becoming wallpaper, and in the process realizing one of painting’s greatest fears, which is becoming decorative. In the same way the functional room or object becomes somewhat useless in having itself covered and being turned into an art object. It’s also a comment on the nature of the relationship between art and design, and how important design is to art. Design is a huge part of the art vernacular—even though it’s deconstructed and used in anti-design ways—especially for my generation, where people are using and appropriating branding techniques and corporate aesthetics. It’s almost troll-like: on one level I’m trolling the paintings and on another level I’m trolling interior-design chic as a concept.”

-Jon Rafman in an interview with Stephen Froese that appears in the new issue of PIN-UP

Quote of Note | James Dyson

“You learn from [negative feedback]. Often it starts a line of development: Well, yes, that person said they want a light vacuum, which is impossible, because motors are very heavy. So you say, ‘We might develop light electric motors—no one’s ever done it before; we must do it.’ About eighteen years ago, we set off on that journey. It took us fifteen years before we launched a revolutionary small, light motor. Negative feedback is really interesting. I enjoy it in a masochistic way.”

-James Dyson, in Bloomberg Businessweek

Illustration of James Dyson and his trusty Air Multiplier by Adrian Tomine for The New Yorker.

Quote of Note | Ralph McGinnis

paeoi“I’ve been blogging since 1999 so I’m neither [a print publication nor a website]. But there is a difference. Magazines are about editing and choice, while the Internet is about immediacy. The art of making a magazine is editing. You have to make a choice, stick with it, then it’s out in the world and it’s done. That’s why I don’t believe print is dead. It’s not just old people, it’s young people too. A 20-year-old photographer doesn’t care if their photograph is posted online. But if that photo gets in a magazine, they love it. They understand it’s a big deal.”

-Ralph McGinnis, co-founder of tasty zine Put A Egg On It, in an interview with author Jeremy Leslie in The Modern Magazine: Visual Journalism in the Digital Era (Laurence King)

Quote of Note | Miuccia Prada

look36“Ugly is attractive, ugly is exciting. Maybe because it is newer. The investigation of ugliness is, to me, more interesting than the bourgeois idea of beauty. And why? Because ugly is human. It touches the bad and the dirty side of people. You know, this might have been a scandal in fashion but in other fields of art it is common: in painting and in movies, it was so common to see ugliness. But, yet, it was not used in fashion and I was very much criticized for inventing the trashy and the ugly.”

-Designer Miuccia Prada, in an interview with Andrew O’Hagan for T: The New York Times Style Magazine

Pictured: A look from the spring 2014 Prada collection

Quote of Note | Rick Owens

email

“I prefer e-mailing to phone calls—I like how thoughts can be reconsidered, corrected, and improved in an e-mail. Like an old-fashioned love letter. And instructions can be carefully specified and referred to later. Am I robotic? Maybe. I think spontaneity may be overrated.”
-Designer Rick Owens

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