DON'T SOLVE THEM.
DEMAND THAT YOUR AUDIENCE INVEST AS
MUCH AS YOU HAVE.
Efficiency is the worst idea.
There is no we. But people
are the most interesting. And
the public is who we should
prepare the work for.
The image must die first,
then be rebirthed.
There is a difference
between multi and inter.
The right question without
a clear answer is more
urgent than a right answer
to a wrong question.
"All (art) is done by
We don't solve old
problems, we make
We're kind of tired of clarity.
We used to be, probably
still are, sensible about it.
and otherwise–we are
ideas, attempts, obser-
vations, uuhhh?s, slide
hmmms, writings, curious,
cumulative and more.
We think content
is the new aesthetic.
We like to use what
exists already. Pay
We have MFAs, BAs:
some in design,
some not in design.
Our work has been
passed around the
world wide web and
sent around the whole
wide world (thank
you TDC, Core 77,
Design Ignites Change).
We have worked
PRATT, Citibank, Metropolis,
Print, Collins:, the
Knicks, DELL, Waldorf, Young
and Rubicam, and ourselves.
We have no problem sharing this
condition of stampinventory. For
now, there are misspellings, etc.,
omisions, misspellings because of
omissions, etc.,alignment issues.
There isn't everything you typically
get in a portfolio-ish site, but it's
all coming soon. This isn't finished,
but there is some good content
here. We thank you for spending
some time at our site.
"Afraid to not fail."
"Life is long."
"Struggle is good."
"Everything is there for you,
even what is not. You just
have to look for it, and if you
cannot find it all, fill in that
void, and you will become it."
"Design is an investment of time;
as much for the designer as for
/ Copyright 1997-2011 + 75
Bronson Stamp /
TAKE THE TIME TO LOOK AT SOMETHING.
*/ EVERYTHING IS ( A _________ IN ) PROGRESS /
This is a playground, seriously.
This is my/a/the/our/your/
P_ACT_ _ _.
We keep our dictionaries out of
order. As in, we tear out the pages and rearrange the order.
It's quite beautiful.
It isn't very effecient as a resource in the traditional sense, but the internet now provides that appeal anyway. The
of going about it is not yetperfectly methodical, which should be a more refined approach than it is or has been. But it shouldn't be rushed.This way
treats the print dictionary with respect and as the story it is.
I Feel, I Fell word animation #1
Other word animations
> Election + Ejection
> Wonder + Wander
> Chance + Change
> Now + New
> Nature + Nurture
For us, the idea of looking up a
word is an uncertain and endless
task. Because what you do when
you look up a word in the print
dictionary is really, opening up
the entire dictionary, not just the
location of the word you are looking
for. And then, let’s say you do
make it to the word you are looking
for in one piece, what happens,
or has the probability of happening,
is a journey that will last much longer
and take more abrupt and gradual
turns than you had ever imagined
because you cannot stay within the
boundaries of that single word.
Every word within the definition
of every other word is indeed its
own entry point–that make up a
system of many, many entry
points–for distractions and
discoveries of that day or any other.
We look around first, to see what
exists in front of us already. And
then we determine what is necessary.
We also try to imagine what T.S.
Eliot's first words might have been,
and more tragically, how much sooner
they would have come had he been put
on medication for being a silent little
boy until he was four years old.Those
words, more than likely, would not
have been his poignant, and seemingly uneccessary, statement: "Look mother
it's raining out."
Cover of Journal Notebook, #001 in Series, so far.
Sorry we've never done letterpress,
and probably never will. But we will
put a spot varnish on uncoated paper.
We'll even put a dull varnish on
Q :...let's write it...
...It shouldn't be written...
A: I didn't say use words, I just said write.
Q: Do you wish designers would stop forcing the web to look
like and act like print?
A: I don't actually, butI I think force is the right word.
Q: Do you ever wonder that you give it all away like this?
A: All the time.
Q: Cooperation needs to endure while this phrase-and phase-
collaboration fades from its lofted + misunderstood + abused existence?
Q: It's a shame that we need to wear headphones
everywhere, isn't it?
A: It's painful to see the public become so private.
Q: So, Bronson: How do you update your website?
A: Well, Dair, like this.
Q: So what you're saying is, you would eliminate the notion of synonyms?
A: Yes, I thinks it's an absurd notion. Antonyms, on the other
hand deserve their existence.
Q: We, as designers, are going to wake up one day when it's
and realize being a form maker was enough all along.
A: We may be extinct by the time that day arrives.
I have more
to say, though:
the insecurities that have plagued the field forever
have led to this feeling we need to be so smart and broad.
Communication as a generality is fabulous, and the right
designers should take it on, but too many are and it's putting
all of us in this awkward place. Stop it.
Q: Design more. Talk way less.
A1: (head knod up and down)
Or just talk about it less delicately and preciously.
Q: Design solutions aren't found on Pinterest or FFFFFound,
rather through a more committed, accidental, peripheral, etc
Q: ...(a long pause)... So it's Beatuy that is the idea?
A: ...(a shorter than long pause)... Sometimes.
Q: Cynicism and Caution are–
A: –I know, I know. I can't say it clearly enough: I am cautious,
that's all there is to it.
Q: Is it true there are things to learn that can't be taught?
A: Yes, very true.
Q: I know I have asked this before: Writers are the most influential
communicators to the other forms of communicators?
A: I believe so, yes.
Q: You need to finish to feel complete?
A: No. The realization of something–what most label "finished"–
is one of the many details that would constitute completeness.
But to feel complete all one needs to do is feel good about it.
Do you feel complete when you finish a piece of shit thing?
I hope you don't.
Q: When someone asks: "Where do you want to go?" what is the response?
A: I guess it's more of a circumstance than a time, or a place
or period in life, or the world's life. It's a situation, not a
Q: Stacks are not the same as Piles?
A: Don't be stupid. Is tomorrow the same as the day after today?
Q: Analytics, or Numbers, are not the measure of success?
A: (Your mother fucking gut, insticnt, oh and Ethnography, Qaulitative...are truer) So, of course not. Fool.
And only fools think so. Let's come back to this. There is
more to say along the lines of sucess-ness beyond the measurables.
Q: Talk less, do more?
It sounds as such an obvious topic when you ask it that way.
I mean, talk is distracting in the moments of work, yes.
Many young workers want to talk too much, they should just concentrate on the work, without talking. But laying in bed with
your lover you could say talk more, listen more do more.
Q: Clearly commerce is mandating design/UX/IA/ decisions?
A: Clearly, the mediums are being neglected for an effeicient,
yet mostly wrong, solution for either.
Or, more accurately, mobile
experiences are being promoted over desktop experiences.
And this absurd one size fits all approach has surfaced.
Q: Some would want to be famous over being right...
A: I've heard that before, yes.
Q: You've looked modernity in the eye?
A: Yes, and it blinked first.
Q: Edward Wright?
A: Wow. You need to know about him and his work.
Q: How'd you guys pick out the hex values?
A: Quite scientifically: everyone contributed their phone numbers
,we translated some numbers to their corresponding letters, and
then mixed that shit up / Albers would have not havebeen proud /.
Q: "You become what you are around."
Q: Wait....you told one of them "...you can ask around if you want–
I'm advising not to–but, if you do keep asking around, you'll always
be asking, most likely."
Q: What is the next focus?
A: The extension(s) of (a) thought(s).................................
A: Most of what we see in visual culture is aligned with what we know as
"good" or "pretty" or, to me "ordinary." And most (8/10, say) practioners
fall within the label of a "good" visual desigenr. And that's oridnary to me.
We must be more brave in our work and be ready to fall short in the attempt
to be extraordinary.
A: Everything is a presentation of self. It's always been that way. Presently, we
have more "things" to access as presentation than we ever have. That
access to what we can use for presentation is not far
at all from what some media theorists like to refer back to. But
I do feel there needs to be some evolution of those classic
media theories as emerging mediums merge
toward one another.
Q: Should we assume since one drinks alone that one is alone?
A: No. Some people who are without any others are quite unalone, drinking
Simplification is not reduction, but organization–depending, of course, as
it could be one or the other or both.
A: A logo is only relevant in that it is used–and then, once it has been used,
that it is used consistenly thereafter. Aesthetic is irrelevant.
A: I see it often: a person is too cosumed with looking and acting cool
in these creative environments and usually their work sucks.
A: I keep stacks, yes. Currently on top is Freud's Mexico, Mornings in Mexico,
Nezvanova, and Portugal at the Grassroots, oh and: some
Debord + Marinetti essays
Q: Adaptive > Responsive?
A: God, yes.
Q: By making some things (basically) as easy as possible, we've made the
diffcult activity seem unapproachable?
A: I think so.
Q: There is very little proof that "good" design is "better than" or
"works" better than"bad" deisgn.
A: As a designer, and a formalist, I hate to say it, but yes.
Q: One more time...?
A: Ok, since you asked: Yes, writers are still the most influential designers.
Q: I wonder if most present day "writers" realize olden day writers were also photographers and sported beards? What I mean is: do it differently.
A: As long as the writing is right, I'm fine with that observation.
Q: You can't have layers, plural, with out layer, singular?
A: Hahaha, you're good.
You are good. I got my eye on you.
Q: Of course everything communicates?
Q: Sometimes it takes more effort than most are willing?
But there still the few who are willing.
Q: It shouldn't need to be stated that proper design principles apply
across all of the mediums?
A: I mean, of course not.
Q: What do you make of the upcoming/recent AIGA/NY workshop
"How to Make Mistakes on Purpo–
A: –Well, it's reckless. The mistakes you gain insight from are the ones
you make because you don't know you're making them untll they're made.
You can't simulate that kind of discovery. It's absolutely reckless and embarrassing.
Q: You can predict behavior, you can't predict performance?
A: Yes. That's why Nate Silver was so wrong on his sports predictions.
Q: Im not sure how to phrase this...
A: Let me say this: The limitation in the thinking of many communicators,
and eventually thier output, is in their approach to–the mehtod in which
they lookat at–design. It is "design
as design." What I mean is, for them
the approach is "design in, design out"
and for designers such as myself,
the approach is "life (experiences) in, design out".
Q: Don't be a scared little pussy?
A: Yes, that's right.
Q: I think the criticism shouldn't be limited to tech use in the public spaces,
but all types of uses that isolate one from the public space. For example,
it's easy and too basic to point at a person ass deep in their smart phone
walking down the street. Should the person reading a printed newspaper
on the subway be subjected to the same criticism.
Q: You've said "You don't have to notice something to see it."
A: Yes, that's right.
Q: You didn't have to cram this space did you?
A: Of course not, but I have (for now, at least).
Q: Do we need to get over the poster?
A: Mostly, not entirely, yes. I tihnk we limit (graphic) design when we
seemingly glorify any one output. And the poster is the easiest form
to recognize for most, so it becomes the thing that designers want
to make first. We're in an age that the poster really has very little
significance, or it has lost its primary significance with the emergence
of other platforms.
Q: Whay are so many people enveloped with this under 30 nonesense.
A: Our field has a strange fascination with it, doesn't it.
Q: Do you like to eat lunch alone?
A: Yes, usually. It's a good break from everything/one.
Q: How does it go?
A: It goes like this: Observe, think, write, act, produce, observe.
Q: Where is a place you would work?
A: A place of natural light and concentration, or only the essentail disruptions: traffic, rain, foot steps, purring, and Bach, ambient and blunt stimulus.
Q: So, they're different mediums?
A: Yes, desktop, tablet, mobile...they are very different mediums, and
one should design not responsively, but with each medium's limitations
and possibilities in mind.
Q: The idea of contrast is a fulfilling and extreme activity, isn't it?
A: I am honored you are shouting at me.
Q: Codex, index, Appendix, Inventory, List, Drawer, Order, Pile, Catalog, Serial.
A: Titles restrict.
Q: The complexities of all the communications is what interests you, and drives
you to perform them?
Q: Why? What's wrong with collaboration?
A: Many things. Primarily it's assumptive that solutions come from
working together–and that we have to find solutions in the first place. It's
primary fault is found in the agreeing nature of working with people we
as our partners. Also, collaboration forces
us to want to find a
solution. It also weakens the connection we each have with the self and developing behavoirs to adapt. And it's ill defined–or not defined at all–so it's loosely applied to any process that may not even be true collaboration.
A: I overheard a young student say in a composed, quiet, certain tone:
"I want to do brave work."
Q: Collages in 2011-present day?
A: They mosly are too contrasty and complex with arbitrary selections.
What I mean is the content is clearly defined. To clarify, what I mean is,
the collages are too eassily disectable. There is no unified content,
therefore there is little to comprehend after aesthtetics. In the collages
from the fluxus, mosltly, there is some complexity that makes the
Q: Influence beats the shit out of inspiration?
A: Everytime (it's our little secret).
A: There is no good or bad or like or dislike.
There is only what works and what does not work.
And what provokes and what does not provoke.
Q: What is the perspective here.?
A: It's not a perspective on design. It's a perspective on life.
Q: What is the difference between advice and a lesson?
A: Advice sucks. A lesson does not.
Q: Is the story/article the ad.
A: It appears that way.
Q: Would you say it's a matter of being very clear or very unclear?
A: Probably. (Is that clearly unclear enough?)
Q: So, why do designers love to make up these time limit projects?
A: You mean, take for exampl this recent account: let's make a poster in
five minutes and post it on the internet as a promotion to sell you these
posters that were made in five minutes? I don't know why they do it, but
it'sodd for many reasons. One being that it shows potential clients that
you can probably do the work they need you to do in half a day.
you try to charge them a shit load of $$$ for the work, they come back at
you with the "yeah but you made this passable poster in five minutes,
why will it take you a month to make me my thing."
Q: Design isn't a personal matter?
A: That's right, it's not about the designer's personal likes/dislikes.
Q: You recently moved pile #2 next to pile #6?
Q: At what point do you consider the end?
A: At all times: As the makers of things we must not forget the users of things.
Q: Do you talk to the users of things?
We're all users, if not makers.Listen to yourself, but of course you can't
make things for others if you don't know first hand what they are looking for.
Of course you can give them something they never thought of, but you would
still want to be there with them at some point to hear their desires of the
A: Yes–and for the last time–it's about despecialization and adaptability.
The design can be whatever it needs to be: clean, cluttered, intillectual,
and so on.
Q: Why do we sudddenly develop identities that "evolove" ...
A: Im not sure it's all of sudden, but it has ceratinly become popular. A few
reasons: Technologies allow it to be done easily. Designers follow trends.
USA Today does it smartly. SALT does it artfully, but not wonderfully and not that
originally and those designers there aren't that original to begin with.
Q: You have yet to resolve this delay in your mind
Q: A lot of your work isn't "graphic designyyyyy"...?
A1: I mean, it's like: say it, don't spray it.
A2: Say it, don't show it.....???? Nah.
A3: Is it a matter of expression or is it a didactic matter, for example.
A4: Well, I suppose if content is good, it need not be overly designed.
Usually flares and ticks are used as an necessary additive for useless content,
or to add unwarranted attention to otherwise trivial matter.
A: Context is the new content + content is the new aesthetic.
Q: ...So...everything is on behalf of the client or the subject?
Q: What's up?
A: Continuing to further the idea and presentation of presentations/
slide shows. The notions of presentation and designing experiences
for the live is emerging again.
Q: It must be easy being a formalist and a fluxus and a futurist?
Ah! You would.
Q: It's interesting: you have this position that we shouldn't just put evertything
out there just because we have that capability, but this space here is exactly
that. It's place you are putting everything, ready or not.
We are usually contradicting our own self, aren't we?
Q: Your graffiti tag is "so what", what does it mean?
A: It means, or rather, where it is placed has all the meanig.
Q: I've heard you refer to Lobster Place as Lobster Palace.
A: It's pretty funny isn't it.
(UPDATE: It's closed until mid Feb for renovations.)
Q: On presentation?
A: It's good to respect the work. It's not good to embalm it.
Q: Are you a futurist?
A: I employ you to answer that question. Now, do some push-ups.
Q: Most people see one color as a restriction; it's a liberation though.
It reduces the options and that saves you time that you will use to
get to fully understand the one color you have.
A: Limitations are a designer's best friend.
A: Couldn't have said it better.
Reduction for the purpose of expansion.
Q: Words on top of images?
Sometimes I don't care if it can or cannot be read. As long as it can be seen.
A: Words are images.
Q: Did you run down the hill and then leap into that pond?
Q: Bane or spoil?
A: I prefer to use spoil rather than bane. It's more visceral.
Bane is too easy.
For example "It spoils my existence" is so much better than "Bane of my
existence." It's like: why use a complicated word when a simple one is there.
Q: You've said design should lead as much as it follows.
A: Yes. Design should anticiapte. It should also react.
Q: Life is long?
A: Yes, life is long.
Q: There is a popular dogma in design that goes: "Don't perfect, just finish."
A: Exceptionally arrogant. And, although it's industrial and structural design,
do you think the astronauts of the Challenger would agree with all of you?
A: Related, one should only make something, or even say something, when
one has something to make or say.
Q: It just takes guts and courage?
A: Yes, we all need more of both.
Q: Is it made?
A: What do you mean is it made? Well, it's not not-made.
Q: Are you a formalist?
A: In many ways, yes. In many ways, no. A formalist will screw the content.
I make love to the content. So, that's the difference.
Q: Selt promotion?
A: It's easy to make good graphic design for yourself or that promotes
. The best designers know how to get clients that are either
on board with this or convince clients that are not on board with this to
get on board with this. index
A: Black and White is how you are born. Color is like makeup.
A: I was a behavior one year. Last year I was a deep thought.
Q: Why do you need a notetaker during some meetings?
A: Well, I will have beeen daydreaming of course.
Q: What do you seek in the work?
Provocation. Sometimes, a finite experience with a propsosal and no
A: Oh, that wasn't me, but didn't you hear it?
Q: You are alive, but do you have a death poem?
A: Yes. It goes: No say over birth
Q: Why do people like you?
A: The same reason people don't like me: I'm doing exactly what I want.
Q: "...not literal, but word-for-word..."
A: What an amazing clarification by Mr. Cage.
Q: Do you despise color?
A: Get a grip. Of course not. I just think it's not neccessary.
Q: You love questions as banal as "What's your favorite color?"
and "How's the weather?"
A: Yes, they are actually perfect questions to reveal perspective.
Q: You've said objects are uncessary.
Design should provoke inner thoughts and then advance that
thought further to eventaully become an act of even further thought.
If an object can do that, it should remain.
Q: Is it raining where you are?
Yes. What about where you are?
Q: (I am responding to a question from sometime ago)
A: It's not up to you or to me, but to the subject or the content. But to answer
Yes, I can give you something precious or I can give you
Q: You've said that we're all naive, no matter what our difference are.
A: Yes, we are all naive, as different as we all are.
Q: Cooperation is?
A: So much better than (what people love to classify as, but really have
no clue what they're saying) collaboration.
Q: Four people passing off one pencll to create a drawing like an assemly line?
A: Not Collaboration.
Q: Four hands holding and using one pencil at one moment with some
talking, nods, groans and agreements, disagreements,
to discover and direct the pencil's course to create a drawing or scribble?
Q: That + It?
A: = Thit.
The only reason anything is ever "done" or "ready" or "complete"
is because it is due. What I mean is, whatever you make or do,
can be done or made better, or at least differntly. That's a fact.
you are not done or ready or complete; go do it again. Better. Different.
Keep going. Never stop. Re-do it. Now.
Why wouldn't you?
Q: Desktop browsing is becomming more like mobile browsing...
A: Well, what you're seeing is a power shift among those mediums.
And, I do think, as similar as they are, we're talking about two
mediums. The mobile, or pad, or "flick" navigation is dominating
web experiences right now. So desktop viewing, which is actually
well into shifting the experience to be closer to that (longer scrolls,
more intuitive and less navigation), has adjusted quite effectively.
And, though it's accidental or at least reactionary, it is improving
desktop viewing and overall site design experiences.
Q: What's your favorite color?
A: Milton Babbitt's audio presentations.
A: I really enjoy 94% black or HEX# 181818
Q: Desing for commerce and design for culture?
A: Too much to say about that for our q/a sessions...
But thanks for asking.
Q: Will you wear two collared shirts at the same time.
A: Yes. I am right now, as you can see.
Q: The most balanced cut of red meat?
A: Skirt steak, seasoned, seared, cooked.
Q: What about spelling?
A: We've been over this. You know how I feel.
Q: Why are posters and business cards still relevant?
A1: I have no idea, but they shouldn't be.
A2: It comes down to things on walls and things in pockets.
Q: Jan WIlker asked you once if John Cage had been an influence over a presentation you made. You replied with "Who is John Cage."
A: Yes, at the time he asked I had never heard of him. But after learnig about
him, I understood that I had known him very well and that he, and his
were indeed an influence even before I knew who he was.
Q: You've said the film titles to My Own Private Idaho are, perhaps, the most
apporpriate titles ever for an American Film.
A: Yes. And now I would include The Master in that catergory.
A: The content of that first film is so fantastic. Who even cares about that.
That second film is a disappointment.
Q: Stretched type, rivers, orphans, Comic Sans?
Such basic and insignificant topics. I suggest understanding these design
basics and then swiftly moving on to larger issues.
Q: This page uses a grid?
A: I love grids, it's just that it's such an ordinary (I want to say incommunicative,
but I know all of what we do communicates something) way to display a series
Q: This may be a repeat question? Are writers the most influential communicators?
A: Yes. Still, now and forever.
Q: To be specialized or de-specialized?
Someone once said specialization is for insects. There is your answer.
A: Learn something. Then move on.
Q: Can one work with others around making small talk?
A: Well, I don't know if it's proven, or if you can even prove something
iike that, but it is certainly difficult.
Q: What about your portraits?
A: I like to think a portrait can be anything that depics a person's character, mood, and/or a specific emotion at a specific or general moment. That's why I use words.
It could be lines, colors, stains, essays, webpages..and so on.
Q: Are dream sequences more like dissolves or cuts?
A: I think, as strange and unorganized as they usually are, they are still
more like cuts. Within each segment, though, there are dissolutions.
Q: Do you wish it was the fall again?
How'd you know to ask?
Q: How do you first go through a museum or gallery?
A: Quicky. Then I go back over it all, a little bit less quickly.
Q: Everything looks the same?
A: Yes. I despise it.
Q: Beginnings of a work or Endings of a work?
A: sible that it's the beginni
Q: Remember that time?
A: You're damn right I do.
Q: What about minimalism?
A: You know, it's wonderful. My apt is quite minimal; It offers possibility.
But it's time to shift–at least a few of us need to move away from it. Even
if it's not in our nature, a few of us have to present something else otherwise
we'll all be stuck in it. It's difficult to do well, and most don't, but they
mimmick the ones who have done it well. I'm talking total fucking chaos.
More importantly, we must re-establish the idea that we do not own style
that we do not impress our own views, but we let the subject lead us
to the output/solution.
A: A footnote is your next beginning.
A: Logos are only important in that they are used, and used consistently.
A: A logo and a brand are not the same thing.
Q: Why are we talking about this?
Q: The viewer will want something easy won't they?
A: I hope not. Clarity is fine at the right times. So is ambiguity.
Q: What does all of this mean?
A: I have to be honest: I think you have no idea what you're
talking about. And you talk too much. I mean, ALL the time.
You have a soft voice though.
Q: Why black and white?
A" It is the beginning. And perhaps the end. Perhaps, just a foundation.
A: Together, they are both everythimg and nothing
at the same time. That is a beautiful sentiment to me.
Q: If you could be hightide or lowtide, which one would you be?
A: This is another hard one...I like low tide better. But without a
high tide, the lowtide would reveal nothing.
A: I prefer to spend the first few moments (days, hours, whatever)
all over the place and then at the point that is either necessary or
predetermined I will get it together.
Q: I didn't ask you about that.
Q: Humpty Dumpty?
A: Let's just put it this way: Humpty Dumpty > genius
Q: Where is your main office?
A: My main office is in the public. It's always open. I have other offices though.
Q: Is the morning the best time to work?
Yes. It's a necessary time to collect your thoughts
and put them in some sort of order before new thoughts
of that day arise and interfere with the old thoughts.
Q: Is the morning the best time to enjoy "doing nothing"?
Q: What about the afternoon, say around 2:30?
A: If you have to, I guess you have to. That is also a good
time for a sweet kiss or a walk or a sit or stare out the window.
Q: How's the weather there today?
Spectacular. I have on a thin cotton shirt and
lightweight curdory pants and loafers with no socks.
Q: Is beauty the idea (sometimes)?
A: Yes. Beauty is the idea (sometimes).
Q: Do people typically associate minimalism with sophistication and intellectualism?
A: Hmm. Well. Yes.
Q: What about effeciecny?
A: Worst idea ever. (Effeciency is a concept corporate bosses and finance
people made up. In the truest creative settings–where work that needs
to be thought about and considered and perhaps tinkered with for years is made–effeciency should not be tolerated. The assembly line is a different
Q: I notice you pace a lot.
A: Yes. Sorry. Would you like me to sit?
A: No no, it's fine.
A: Life is long.
Q: Design for commerce vs. design for culture...
A1: ...(inaudible groan)...(another inaudible groan)...
A2: Commerce is culture, sure. Pretty obvoious conclusion.
Q: Not everything needs to be made for "something, someone, some
purpose." Somethings just need to be made because you have the
urge to do or say something.
A: I know exactly what you mean.
Q: Is Space Man's final frontier?
A: No, it is the opposite. Man is Space's final frontier.
(Follw up Q: So, is it true Space is where no Man has gone before?)
A: Well, we've been there. So, it is the opposite as well.
Man is where no Space has gone before.
Q: You've said in the past that all work is personal. That there
should be no seperation inside your body when you are doing
something that has come from
within you or from outside of you?
A: That's a bizarre thing to think about it.
Q: I've heard you don't like to wait for a project to land in your laps; that
you go after projects or make your own. I quote, "If yout wait
around for someting, you'll just be waiting. Go do something!"
A: It's True. I also like to eat and forget about all of that.
Q: Interaction Design is more than digital–
A: –Stop right there. Of course it is. A flip book is interaction
design. Wrapping paper used to wrap a gift is interaction design.
People just don't know what to call things so they throw this
sweeping term over it and then the dominant tendency within
that catergory (which is clearly digital in this instance) begins
get eaten up by culture and so it all gets carried away.
Q: Can anyone be a designer?
A: Thankfully, the answer is yes. And we all should be. I'm sure
some in the field will disagree.
Q: Humpty Dumpty is a huge influence on your word based research?
A: Yes. Humpty Dumpty is smart. Well, Lewis Carroll made him smart.
Q: The reason anyone can be a designer?
A: Well, we're all taught form, color, scale, and so on in kindergarten.
I suspect, though, that this is the very least design is. We aquire courage, compassion, understanding as we grow up. Actually, we're born with
courage! Isn't that beautiul. And in some way we are nurtured along to
be cautious, which of course inhibits both courage and intuition.
Q: Re: what the f--k is up with these animated gifs and other moving things
all over the page? (I mean the page in general, not yours.)
A: Watch the language please. Well, eventually people will either go blind
or crack up over it all and then it won't matter anymore. Also, once that
trend is over it will stop, until it makes sense for it to occur and then it
Q: Will you send a practice related email at 3:44 a.m.?
A: Yes. Of course.
Q: Intonation or Connotation?
A: This is a tough one. I enjoy both. I'm sorry, but I can't choose.
Q: Is it true that if you can make it in New York, you can make it
A: It depends. With design, or as some high end designers work,
as it is done in New York, I do not think so. I believe most designers
in New York would fail miserably outside of New York (maybe not
in London or Berlin). Their vision and outputs are so accute and
isolating–perfect for New York where there is enough of an audience
even for the work that is cared about or relevant to so few.
Q: If you were a symbol, what would you look like?
(see: empty set)
Q: Footnotes or Endnotes?
A: Footnotes–by a wide margain.
Q: Where do you begin?
(I'm sorry. It shouldn't start with empathy; you should already have that.)
A1: You start with what exists already and what you know already.
A1a: Listening. Understanding. Where it fells natural to begin.
A1b: Maybe you realize that you don't begin at all, or that you began
a long time ago.
A2: "When" is also a necessary question...but let's talk about that
later. The answer to where is: I believe it is (or can be) different every
time. Usually, it's with the question or the problem, and then making
some observations, asking what do I already know and not know,
listening to the people involved. Rarely this is not the start, and in those
cases it can begin from just about anywhere: form, note taking, output,
etc. It is similar to how the entire process has the possibility to be
different each time. It's all dependent on the problem–or more
Q: Ok, so when do you begin?
A: Now. Immediately. (How)?: Urgently. Not recklessly.
Q: Yes, but what's the output?
A: Thank you for that question. The answer is long. Well, it's a
long list anyway. The ouput is
Q: "Thank you for that piece of design. Now, can you make it go?"
A: No. Wait. Actually, well, sure. Of course I can make it go.
But I won't. Not in this instance, for that purpose.
Q: Can a conceptual or speculative desinger make a living?
Or, what I mean is–
A: –I know exactly what you mean. What you mean is can the
conceptual worker produce a result satisfactory to the practical
real world without comprimising. I don't know the answer, but
it's probably yes.
A: I know what you're going to ask. There is no "We".
Q: Did you live in a tent on the rooftop of an artit's loft in NY?
A: Yes, for a month; when I moved here for graduate studies.
But it wasn't a tall building. A two story loft off the Bowery.
So, it wasn't bad at all. I ended up staying in the loft for the
rest of the year.
Q: Do you collect receipts?
Q.: Do you have a twin brother?
Q: Do you look alike?
A: Not really.
A: -----No, we can't read each other's mind.
Q: How did you know I was going to ask that?
Q: You have a cool name
A: That's not a question.
Q: If you claim to never finish anything, how do you get paid?
A1: Copyright infringement.
I always complete the work, but never finish it.
A3: It doesn't matter. Let's just do something fantastic.
Q: Could you at one point dunk a basketball on a regulation height rim?
A: No. Why do you ask.
Q: But, you're white.
Q: And only 6 feet tall
The frequency, orientation, density, and material
of our bars is what will make us different from one another.
Q: What's your favorite color?
A: Black & White.
Q: What's your favorite kind of milkshake?
A: Black & White
Q: Do you believe in process?
A1: I believe in: observation, improvisation, spontaneity,
instinct, second guessing, using what exists already.
A2: There is an initial reaction–very intense–at the first moment
of an idea or a projcet, when you have thoughts, solutions,
fragments flushing through your mind and then all of that
wanes and at some point patience returns to help filter
the results. This isn't a matter of incessant refinement, it's
really a matter of instinct and knowing when it's right. And,
sometimes a primary element of input will be found, by
accident perhaps, or by filtering curiosities very finely, at a
point several months or years after the output has been
established...and then you'll realize you have a process
that relies on chance, assymetry and continuous discovery,
among other things.
Q: Will anyone have made it this far in the Q/A?
A: We'll see. I hope so. This isn't one of those manifesto
Q/A. Or one where the questions are generic and the answers
predictable. For example: Q: So what do you do in your spare
time, which of course I would say something unoriginal with
zero insight like A:"Mostly playing with my cats, watching the
internet (netflix watch-instantly and hulu), treating myself to
pork-fat heavy meals (and therefore slowly draining my bank
account), riding my bike around Brooklyn, impulsive procrasti-
cleaning, and hanging out with my (girl)friend/friends." Of course,
I don't do any of these things, but you get the point.
this is posted on the internet, anyone who knows anything
about the internet knows people, whether interested in the
content or not, get distracted, so we are keeping this fun
(still relevant) and succinct. (Except this entry) (Sorry, reader.)
Q: Is there a difference between inspiration and influence?
A. Yes. A large difference. It's like the difference between
a song off an album and the album. One is usuallly fleeting,
forgotten by the time the next song plays and the other usally
forever, debilitating you, and stealing part of you. Maybe
it's similar to lust and love. Although, I never saw a difference
in either of those. They are also the same. For me, I cannot lust
for someone I do not love, and cannot love someone I do not
lust for. Of course, I love some of my friends, but that is different.
9/11 New York anniversary sticker. Produced at two sizes. Big and Small.
Hollowed out, white, placed on any surface to fill in Twin Tower cut out.
Alternatively, this can be used as a stencil template. Pics to come.
The second application of the graphic is to place on top of existing
iconic New York City photography and fill in the void of the Twin Towers.
1. ELECT/EJECT. The pathos of selection. Do we vote in favor of someone, or in opposition of someone else.
Secondarily, but just as interesting, the examination of the closeness of these two words structurally and emotionally.
Poll created for Fashion Besat gallery that gives user chance to vote on images. This field sits above photo. Editorial and Desgin.
Alternate abbreviated logo/wordmark edition based on Fashion Beast wordmark
Identity for publisihng outlet name One.
Green Rankings spring scroll/ dual navigation.
Custom weekly typographic treatments used for Beast TV entity of The Daily Beast.
A small book about the set theory, containing a series of considered equations.
Interior of Shuttle train from Grand Central to Times Sq for Dell (from October-November 2011).
Identity for live event sponsored by DELL that unites hackers and worthy causes. Inspiration: the cursor from MS Dos.
Postcards to Alphaville contribution.
Identity for non-profit.
A family crest.
A political satire.
Wordmark for MFA Thesis project and ongoing publishing and research initiative utilizing word based research.
KNICKS YOU/US/WE/KNOW campaign More images coming.
Garish, indeed. Not my typical use of color, or I don't typically use color.
Maybe I should stop.
Print advertisements for Conrad Hotel.
Made by special request for a desktop background image.
Directions to participate:
1. Email a request for jgp.
Make jpg background (centerd option).
Minimize all windows.
Screenshot entire screen (to all edges).
Send screenshot (untouched).
Titles to a fine PSA concerning bigotry towards Islam. LINK TO VIDEO to see selected titles. Credits: coming.
LP Cover (with alternative) for Ghanaian musician MENSA.
Jan. 1 Trophy
2012, 4 editions
1. When you do more than one thing at a time, usually none will be competely done. 2. Finite.
Pamphlet and Book Cover:
Vs. is a series of independent essays and diagrams, each comparing two intimately related thoughts, ideas, tendencies, etc.
Look Down is a photo book based on gravity and the effects of gravity in both an acute and broad context.
This is another contribution to Double-Scribble.com. This time using quotes from players. Quote from Michael Jordan.
Use of negative space to complete letter form, which hopefully contributes to meaning of his quote.
Book cover of I Feel, I Fell.
Courage=Authority stickers/banners. Actual size 2" x 25"
Illustration for Morings in Mexico, DH Lawrence.
Some repeated words on my new letterhead
Identity developments; Art Direction: Bronson Stamp, Design: Nick Kastner
A lovely lady. I wonder if she is squinting even with her shades on.
An androgynous punk wannabe on a flyer.
Madison Sq Park, looking south down Broadway.
chosen illustration and Cover and then alternate Covers/Directions from June 2011 Metropolis magazine
2011 is a year of balance, and in this last basic equation the year as no meaning.
Visual Design of these equations is in process.
Series of sketches for Double-Scribble.com: line, shape , color, type
Flash website that integrates a deisgner's portfolio and blog; ended up too big to load. Does have some nice interactive surprises though. Email to set up a time for me to come over with file.
---.K.. is a bi-annual art journal. The content is shape and color; anything to do with shape and color. Then in B/W!
---Large format publication titled PATHS. Each edition identifies a specific destination (man-caused, philosophical, place, etc.)
and how we arrive at that destination.
---Handouts made for lecture: Futurism In The Classroom: Pushups and Criticism of Art School as A Stage, Jan. 2009
---There were 23 variations in composition (one each for the 23 attendees), each variation affecting the perspective, somewhat.
---Space around content was available for note taking. It looks like no body took notes though.
Model for Exploring
Word Meaning & Concept,
/ One Word Dictionary (As Thesis)
The reduction of an entire system of parts to it's smallest
unit, to then expand each of those parts.
/ One Word Dictionary (Post-Thesis)
/ A Specific Word in A Specific Writing
/ My Mexico
/ Installation #1: T.S. Eliot's first words and his
four years of silence before that.
/ Experience #1: Access
/ Holiday Wrapping Paper
/ Condition Between Now and Then
/ Censored Art On-Line Archive
/ Word Based Research
/ Study of Silent Introduction (I was asked later if John Cage was
an influence. At the time I had never heard of John Cage. Now, after
finding out who John Cage was, I feel as if I always knew him.
/ Lecture: Futurism in the Classroom
/ Stolen Code Project
/ Watching Words Move, Again
/ On-Line Dictionary Experience
/ Case in Defesnse of Four or Five Categories of Necessary Objects
/ A watch that references time by events and
norms and is customizable for your own norms
/ 17 Flags from Black and White perspective