Years ago last century when I was communications manager at a forest products company, my boss used to call Kit Hinrichs “that gray designer” because he always managed to use 402 Gray in every job he designed for us. Then Kit outgrew his gray period and developed a fondness for 032 Red, which to him is the most wonderful red he’s ever seen. He didn’t use it on everything, but you knew he loved it. Now he is passionate about 123 Yellow. Never try to engage Kit in a discussion about using 035 Red instead of 032, or try to sneak it by him. He’ll know. The guy’s color perception is like a dog’s sense of hearing. Very keen and nuanced.
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For decades, ignorant art directors have perpetrated a big lie, reinforcing sexist stereotypes and insulting females everywhere. They have portrayed the gender of Santa’s reindeer as male, assuming that only male reindeer have antlers and the strength and endurance to haul a jolly fat man and a sleigh filled with gifts from the North Pole to all parts of the world all night. Actually, according to the Alaska Department of Fish and Game, the opposite is true. Rudolph, Dasher, Dancer, Prancer, Vixen, Comet, Cupid, Donner, and Blitzen are all reindeer girls. The Department of Fish and Game knows this for sure because although both male and female reindeer sprout antlers every summer, the male reindeer shed them after they have mated, usually by Thanksgiving. The female reindeer keep their antlers until after they have given birth in the spring. Hence, all of Santa’s reindeer drivers are ladies since they are the only ones with antlers in December. Had art directors been more thorough in their research, they would have figured this out, and they would have known that Rudolph’s (or Rudi, as she is known to friends) glowing red nose is not a facial deformity, but a stylish fashion accessory.
In September, Playscape, a children’s playground created in 1976 by Isamu Noguchi in Atlanta’s Piedmont Park, reopened after a restoration funded by Herman Miller Cares via Park Pride, and coordinated by the City of Atlanta’s Office of Cultural Affairs and Office of Parks. Playscape is the only playground designed by Noguchi in the U.S., despite his effort to develop more.
One of the 20th century’s most important and acclaimed sculptors and artists, Isamu Noguchi had a lifelong interest in designing children’s playground. “I think of playgrounds as a primer of shape and functions; simple, mysterious, and evocative; thus educational,” he said.
Noguchi’s approach to playgrounds was consistent with his design of furniture and lamps, theater sets, stone sculptures, and landscaped gardens. He brought an organic and geometric sculptural sensibility to all. “Sculpture can be a vital force in our everyday life if projected into communal usefulness,” he believed. His goal was to create art that the public could use in a social space. That included children’s playgrounds.
Noguchi pursued his quest to create playgrounds throughout his career. He designed his first landscape for children in 1933. Calling it Play Mountain, he proposed building it in New York City and envisioned a contoured terrain with many elements that would find their way into his other landscape designs. New York rejected his proposal. He tried again in the 1950s and 1960s, and was rejected each time.
For Playscape in Atlanta, Noguchi created colorful sculptural forms that invited children to explore this landscape, using their imagination to invent their own play. Dakin Hart, senior curator of the Noguchi Museum, described Noguchi’s belief “that playgrounds should not be designed like military exercise equipment for a cheaply executed boot camp…He thought kids should experience the environment the way man first experienced the earth, as a spectacular and complex place.” This is a vision that applied to all of Noguchi’s work.
Major league baseball teams are masters of branding, reinforcing their identity through team colors, mascots, logos, and nicknames. This quiz tests your knowledge of team names, past and present.
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In the realm of classic comic book heroes, there is Spiderman, Superman, Batman, Wonder Woman, the Hulk, the Green Lantern …and Tintin the baby-faced boy reporter. A comic strip introduced in 1929 by Belgian cartoonist Herge (Georges Prosper Remi), “The Adventures of Tintin” relates tales of a Belgian teenager with a round head and a dorky quiff hairstyle who is dispatched by a youth newspaper called Le Petit Vingtieme (the Little Twentieth) to file investigative reports from hot spots around the world. Unassuming and good-natured, Tintin gamely goes wherever he is assigned, taking his little fox terrier, Snowy, with him. His travels often put him in the midst of political upheaval in the land of the Soviets, the Belgian Congo, China, Chicago, Latin America and elsewhere, and in trying to get to the bottom of a mystery, he is forced to deal with ruthless special agents, diamond smugglers, Al Capone gangsters and other villains who want to run him over, shoot him, torture him, kidnap him and feed him to crocodiles.Tintin and Snowy deal with each encounter without fear and get themselves out of each jam through quick-thinking action and sometimes through sheer dumb luck. What has kept Tintin so beloved over the decades is that he isn’t presented as an egotistical super human like Spiderman and Wonder Woman, but as an average young man who doesn’t seek out danger but doesn’t run from it either. In Brussels, Tintin and Snowy are honored with a life-size bronze statue, and they are even commemorated on a euro coin, which is legal tender in Belgium. An unlikely action hero, Tintin is probably the most admired fictional Belgian in recent history.