Writing is Drawing is Writing

From the Alan Fletcher Archive.

Writing is Drawing is Writing

From the Alan Fletcher Archive.

A Holiday Charles Schulz sketch to go with yesterday’s song.

A Holiday Charles Schulz sketch to go with yesterday’s song.

“Architecture cannot divorce itself from drawing, no matter how impressive the technology gets. Drawings are not just end products: they are part of the thought process of architectural design. Drawings express the interaction of our minds, eyes and hands. This last statement is absolutely crucial to the difference between those who draw to conceptualize architecture and those who use the computer.”
Susan Kare, the fine artist turned iconographer who drew the first icons for the Macintosh in 1984 has recently published a book of her work spanning nearly three decades of work. Included in the book are some of her original sketches for the Macintosh icons:


  Inspired by the collaborative intelligence of her fellow software designers, Kare stayed on at Apple to craft the navigational elements for Mac’s GUI. Because an application for designing icons on screen hadn’t been coded yet, she went to the University Art supply store in Palo Alto and picked up a $2.50 sketchbook so she could begin playing around with forms and ideas. In the pages of this sketchbook, which hardly anyone but Kare has seen before now*, she created the casual prototypes of a new, radically user-friendly face of computing — each square of graph paper representing a pixel on the screen.

Susan Kare, the fine artist turned iconographer who drew the first icons for the Macintosh in 1984 has recently published a book of her work spanning nearly three decades of work. Included in the book are some of her original sketches for the Macintosh icons:

Inspired by the collaborative intelligence of her fellow software designers, Kare stayed on at Apple to craft the navigational elements for Mac’s GUI. Because an application for designing icons on screen hadn’t been coded yet, she went to the University Art supply store in Palo Alto and picked up a $2.50 sketchbook so she could begin playing around with forms and ideas. In the pages of this sketchbook, which hardly anyone but Kare has seen before now*, she created the casual prototypes of a new, radically user-friendly face of computing — each square of graph paper representing a pixel on the screen.

Looking with Both Eyes Open

For two hours every morning and every evening, I take a bus into New York City to work. I’ve been doing this for three months now so what started as an uncomfortable four hours has become routine. I barely notice the ride anymore. I had sat on the same side of the bus each day until one day two weeks ago all the seats on my usual side were filled. I found myself sitting on the opposite side of what I was familiar with. Looking out the window that ride home felt like a whole new ride.

Familiarity leads to unfamiliarity.

They say artists see the world differently, but I’d argue that artists see what’s really there. I saw John Maeda speak last month and he said artists are like kites; the wind is always there, but kites helps us see it. Maybe artists simply show us what’s already here.

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“I just keep on writing and thinking and drawing, which I continued even after I stopped painting. I don’t know whether this is true for other people, but it is certainly true for me, that after years and years of drawing it does become a little easier. Unlike writing, which remains as difficult as ever. So while I’m at the stage of a new writing project where I am vaguely hearing, rather deafly, the demands of a new train of thought, the drawing goes on every day. It is that rare thing that gives you a chance of a very close identification with something, or somebody, who is not you. So maybe it is not so different from storytelling after all.”

I really enjoyed this Guardian profile on John Berger. I watched Ways of Seeing for the first time a few months ago and just finished his book of the same title, as well as a few essays from his Selected Essays.

I like his writing a lot and I like the philosophy of his approach to art and attempt to discover the deeper meanings behind it. Ways of Seeing had a profound impact on aesthetics and for me personally, changed the way I come to a piece of art.

Frank Chimero:

Writing and drawing.
Back and forth.
Forever and ever.

Frank Chimero:

Writing and drawing.
Back and forth.
Forever and ever.

Handwriting

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Do yourself a favor and spend some time with the portfolio of Mia Nolting, an illustrator from Portland, OR. Ms. Nolting works in a variety of mediums from pen and ink to collage and it all has a light, airy, almost innocent feel. While you are there, also be sure to check out the ‘Other Things’ section that has some great content including my favorite, Book of Lists. 

Do yourself a favor and spend some time with the portfolio of Mia Nolting, an illustrator from Portland, OR. Ms. Nolting works in a variety of mediums from pen and ink to collage and it all has a light, airy, almost innocent feel. While you are there, also be sure to check out the ‘Other Things’ section that has some great content including my favorite, Book of Lists

It’s hard to believe that this school year has come to a close. I seriously have no idea where it went as it often feels like I just started at Kutztown yesterday. Tomorrow, I’m turning in my final project for the semester, that I have photographed in it’s entirety above. The project is a full hardcover book based off a Grimms Fairytale. I’m really happy with the end result and while I’m not sure it’s my favorite project I’ve ever done, I think it’s a nice representation of a style I’ve found myself growing into as of late and culmination of the various design experiments I’ve done this past year. 

The book evolved slightly from my original plan, mostly in an attempt to simplify and only show what is necessary. All the watercolor and pen and ink illustrations were done by hand (something I’ve never done in a finished project before) and I’m quite proud of how they turned out. The finished book is printed on lightweight watercolor paper and bound in a hard cover. The final presentation looks really nice, if I do say so myself, and think this is a good project to finish up on. 

There are some exciting things in the works for this summer and then I’ll be back at Kutztown for one more year in the Fall before I’m let loose in the design world. It’s going to be a good year.

New Work: Alanna Weaver Blog header

I recently finished up a quick project for my good friend Alanna Weaver. Alanna is a “photographer, aspiring style maven and world traveler from Chattanooga, TN” and needed a header for her wonderful blog.

I hand drew this header based off her name and then did a custom illustration around it. I wanted to go with something more hand-made to reflect her crafty, vintage style. I’m really happy with how it turned out and think it really fits the aesthetic of her blog.

See it in the Portfolio | Visit Alanna’s Blog

The drawings of Justine Ashbee are beautifully organic and freeflowing:
These drawings are executed purely by hand, using paint pens. I begin with a curve, from which lines and forms begin to emerge, evolve, morph, and grow organically, in an intuitive flow, while maintaining delicate, elegant precision. The methodology is rhythmic, spontaneous, and direct, reducing interference with mark-making. Much like zen calligraphy, they are improvisational, and intuitively composed, where the physicality and the mark making become one.
Charles Eames once said something along the lines of “There comes a point in the design process when the designer needs to step back and let the design lead the way.” I love that. That’s how I feel about Ms. Ashbee’s work, she starts with a line, and then lets the drawing guide the rest.

The drawings of Justine Ashbee are beautifully organic and freeflowing:

These drawings are executed purely by hand, using paint pens. I begin with a curve, from which lines and forms begin to emerge, evolve, morph, and grow organically, in an intuitive flow, while maintaining delicate, elegant precision. The methodology is rhythmic, spontaneous, and direct, reducing interference with mark-making. Much like zen calligraphy, they are improvisational, and intuitively composed, where the physicality and the mark making become one.

Charles Eames once said something along the lines of “There comes a point in the design process when the designer needs to step back and let the design lead the way.” I love that. That’s how I feel about Ms. Ashbee’s work, she starts with a line, and then lets the drawing guide the rest.