I had the great fortune to work on the team that developed, designed, and made Mythbusters: The Explosive Exhibition. Here are a few shots of my graphics from the debut at the Museum of Science and Industry in Chicago!
I had occasion to assemble another version of my resumé today. This one plays up some marketing/advertising campaign work and lightens up on the exhibition work. I also included some live links in the PDF to some of the things I’ve written – for Production Plus’ eZine Solutions By Design, for instance. I haven’t written anything for Pro Plus since we parted ways in 2008 or so, but there are some fun articles there in the archives, like this one where I get a quote from Smokin’ Joe Frazier) and my theater reviews for Centerstage.com.
I really enjoy the process of putting together a fresh resumé. It gives me a chance to revisit old work, re-evaluate it, think about what I learned from it, and how I can apply that to my work today. Take a look at this one if you’d like. If you have any comments or suggestions, please send them my way! I welcome sound opinions and dialogue on anything I’ve designed.
Hello from the 21 Century!
One of the things that I’ve most enjoyed about my career has been consistently being able to engage with new types of design and print technology. I’ve worked on Macs since 1988, and in 1993 I started really learning how to design with them. I taught myself Quark Express, cranked out a few publications, and never stopped from there on, constantly learning as I engaged with each new piece of hardware and software.
Last night, I downloaded the WordPress App for iPad, and decided that I would try to use my iPad in tandem with my new Apple wireless keyboard as a sort of deluxe, very low-profile laptop. 90% of what I do on my laptop I can now do on my phone – just not as conveniently. But, thought I, do I really need to lug around a laptop just to be able to send an email or two, or post to my blog, or work on a single presentation? Why not try the iPad?
And, so, after some technical maneuvering with the wireless keyboard, here I am, merrily typing away with no visible connection between the screen, the keyboard, or any sort of power source.
This, my friends, was science fiction when I was a child. I find that thought incredibly exhilarating.
I was just at the Game Designers’ Conference1 last week in San Francisco, and I was awestruck at some of the pieces of software I saw on the floor, freely available. I watched a young guy generate an entire 3D city – streets, buildings, alleys, streetlights, topography – in less time than it will take me to write this post.
It seems to me that we’re going to see a shift in the types of tools we, as designers and creatives, are going to have to start using in our work practices. Photoshop and Illustrator and InDesign simply no longer seem to be enough to stay at the forefront of design and technology. They are useful tools, certainly, but they are now as ubiquitous as your average kitchen-drawer Phillips head, and simply being able to use them no longer commands a working wage in the marketplace.
But there is always value in good design, and incredible toolsets are out there for anyone willing to explore. And, thus, I’m trying to engage with the new tools at my disposal; thus, the iPad and the wireless keyboard.
I have some thoughts on the interface that I’m learning about, and some questions. But, for the first time, I think this is wonderful! I’m looking forward to seeing what my new tools can do for me, and how I can use this to add some value to my next project.
- I’m going to come back and add a link here – and at a few places above. That will be after the fact, however – because the initial Post interface here on the iPad is making it very difficult to post links or add photos on the fly. More about that later. [↩]
People of the Internets!
Tomorrow is my mom’s birthday. Happy birthday, Mom!
I am tremendously proud of my Mom. She’s pretty much the best Mom I can imagine. I have a pretty active imagination, so I can imagine a lot of Moms. The Mom I ended up with rocks. I couldn’t be more thankful.
Thanks, Mom, for this gift – this life. It’s the best life ever. I feel like the luckiest guy on the planet. So – thank you so much, for everything.
Just to clarify – I would not be the person I am today if it were not for my Mom. She’s awesome.
It is, at the time of this writing, 5:05am EST. Good morning, Mom! 1 I love you! Wake up! It’s the first day of Spring!
- Please note – I refrained from calling you – even though I wanted to. [↩]
If you dig Billy Joel, then listening to this (and reading the article attached to it) will be well worth your time. If you don’t dig Billy Joel (who, as I understand it, has been accused of being a bit of a douchebag), I encourage you to give this a spin.
How about that Sinatra impersonation?
To the Long Islanders in the crowd: this song really is a Long Islander’s song about Manhattan, am I right? I really get this song; it encapsulates a lot of what I really love about my Ancestral Homeland.
Millennium Park was just a gleam in Mayor Daley’s eye when Terry Evans asked me if I wanted to work on a photo exhibition with her – the first one in the new park. I worked closely with Ms. Evans while she was photographing inside The Field Museum for the exhibition From Prairie to Field.1 I couldn’t have been more excited; I believe I accepted the job on the spot, without hesitation.
The exhibition was spearheaded by the indefatigable Jerry Adelman of Openlands, with cooperation and participation by Metropolis Strategies (then operating as Metropolis 2020). The goal: to show the residents of Chicago their land–what it looks like from overhead, what it’s being used for, and how the growth of the city changes the landscape around us.
The exhibition opened in June of 2005 with the concrete still drying on the Gehry Bandshell. I’m very proud to have worked on it. It was a pleasure and a privilege to help bring Terry’s stunning photographs to an audience who could appreciate them as art and also be able to say, “hey, there’s my house!” or, “I drive past that every morning and had no idea it looked like that.” To talk about the growth and progress of Chicago with its denizens and visitors in such a highly visible public space felt then – and still feels now – like one of the most valuable things I can do with the opportunities I’ve been given.
Revealing Chicago taught me more than I can relate here about the past, present, and future of the city. Being on the periphery of Hizzoner’s great public work taught me a lot about the inner workings of Chicago government – which, as you may know, has always been a lively battleground. At the opening of the exhibition I got to have a brief conversation with the Mayor:
Hizzoner: Hey, nice show you got here.
JD: Thanks, Mayor! Nice park you got here!
Hizzoner: Hey, thanks!
The rest of the conversation is one for the record books. In order to appreciate it fully, some setup (and knowledge of certain maneuvers involving a former airport) is required – but if you wanna hear it and you run into me sometime I’ll be glad to tell it.
Do yourself a favor: take a look at Terry’s gallery of images from the show. And (if you’re really interested) pick up the exhibition catalog. I’m sure whether you are a Chicago native or just interested in some amazing photos, you’ll find something intriguing and beautiful.
- As you might have seen from the link to the Field Museum’s page, the exhibition was remounted in 2008. The original was designed in 2001; I have some fine photographs from that original installation that will make it to this site eventually. [↩]
I reached for a knife today to cut a tomato and came away from the block with the 62S. It’s not the sharpest knife in the drawer.
I’ve had trouble sharpening it, but I thought I’d give it one more shot today and see what happened. Out came the whetstone; dutifully I set to grinding, then tried it on the tomato.
No change. WTF? I go back to grinding, pissed off a little, and I stop. I feel the edge: dull. Then I take one careful, slow swipe across the stone.
Zing! The edge is sharp! Check out the 62S, cutting tomatoes LIKE A BOSS.
I learned something valuable today! Turns out I had been grinding the blade away endlessly and not really noticing what I was doing. One slow grind across the whetstone is all a good knife needs to get sharp.
Shortly, my old friend Eric Wybenga is (hopefully) going to join onto my site as a subscriber. He’s a writer, and a good one–always has been.
He’s (also hopefully) going to be one of a bunch of friends and professionals talking about what they’re doing here: asking questions, talking shit, engaging with other friends and professionals about whatever happens to come up.
Which leads me to –
This will be what Eric’s tag/logo will be for his posts here (for the moment). I had imagined that, as people show up, I’d give them one of these to use here–if they don’t have one of their own they’d like to use instead. This decision has already led to some interesting graphic design questions.
See, Eric’s colorblind. So, when I presented him with my first set of colors and choices for his logo …
… this was his reply.
Nice.I choose yellow (? still colorblind…) “E.” And I’m gonna check out Chris’s posts now. Psyched.
So, this: what started as CMYK Yellow in Illustrator, and a dark, mudded-up blue/green.
Thoughts, everyone? Eric?
Some of the knives were scattered at the bottom of the box; and everything, including the block, was covered in a generous layer of old grease. But it was indeed a set of Chicago Cutlery. Many of the blades were poorly cared for, and some showed signs of active misuse.
But hell, they were One American Dollar™ for the whole set! I scampered off with them and headed over to the local hardware store. I don’t know a hell of a lot about knives, but I’ve always wanted to learn more; this seemed like a great opportunity.
The guy at the hardware store was impressed. He pointed out that the rivets on the knives were brass. “They stopped making these outta brass in like 1983,” he confided, “so these are great knives, from back when they just sold to butchers.”
I’m not sure he’s right about the latter factoid, but I like the sound of the brass rivets part. And the timeline matches up well with the style of the logo:
That typeface? The woodburn? It doesn’t take a lot of graphic design research to smell 1979 on that one.
I left the hardware store with the assurance that I had indeed found a badass set of knives, and a bagful of new tools:
- some steel wool (#00 grade)
- lemon oil, to restore the handles
- a whetstone
- honing solution, to put on the whetstone
- mineral oil, to restore and polish the blades.
Add to that some fine sandpaper of my own that I already had (220 grit, I think), and I was off to Elbow Grease Alley to sharpen up my new set of knives.
3 hours later:
I’d love to learn more about these knives and how to use them.
- What specific cut is each knife designed for? What do the designations (61S and so forth) mean?
- As y’all can see from the photo above, Knife 62S (the second from the bottom in the top photo) is blunted. The tip was bent when I bought it, and it snapped off while I was trying to straighten it. It is by far the dullest of the knives, virtually unusable. I’m just starting to learn how to sharpen knives properly, and I haven’t been able to get this one sharp at all. It’s beyond my capabilities at this point. Any suggestions?
- I’ve done absolutely zero research on Chicago Cutlery as a brand, but it would be fun to do a little logo research; figure out what typeface that is, where it came from, who designed it, etc.
The whole project took about 4 hours (trip to the hardware store included), and, hopefully, will lead to some more interesting learning about cooking, brand design, etc. I’m looking forward to seeing what opens up.
So currently I’m listening to this mighty record:
There’s quite a bit of it that kicks ass. This the record of theirs that I enjoy the most. It’s the only one I play with any regularity, though (I have three). And I rarely listen to the entire record; five songs, maybe six.
Why isn’t this band ruling the world? Their ability to put together a riff/song/concept album/any other thing they’d like to do is not in question. I think their musicianship is hard to match. No One Knows is a 4 minute full-on rampage. So why are they not ruling the world of rock and roll?
I’m driving southbound on Broadway on the north side of Chicago this afternoon when a familiar logo blazes by on my left.
Unleashed has made it to Chicago! Find the store here!
I’ll be going back to take some more photos; the ones I took don’t do it justice. I’m so pleased with the way it was deployed; it really feels warm and inviting in there, which is just the way Mike Lewis imagined it.
More to come! Meantime, check out my photos of the original Unleashed here.