Comments on: Orange, Black, and Gothic All Over http://blog.iso50.com/2008/07/01/orange-black-and-gothic-all-over/ The blog of Scott Hansen (aka ISO50 / Tycho) Wed, 17 Mar 2010 20:01:23 -0700 http://wordpress.org/?v=2.9.1 hourly 1 By: BP Design Lab http://blog.iso50.com/2008/07/01/orange-black-and-gothic-all-over/#comment-155097 BP Design Lab Tue, 07 Jul 2009 18:52:39 +0000 http://blog.iso50.com/?p=1903#comment-155097 The Blue Note label in general provides staples to any record collection. I often cannot decide which I love more, the music or the artwork. Many are brilliantly simple and there work with monotone and duotone is often perfect. I liked what this cat did with some of the blue note classics: http://website13156.com/?p=165 . Great concept! It made me draw my own conclusions about the similarities between the Wu and the Blue Note artists, respectively. Great post! The Blue Note label in general provides staples to any record collection. I often cannot decide which I love more, the music or the artwork. Many are brilliantly simple and there work with monotone and duotone is often perfect.

I liked what this cat did with some of the blue note classics: http://websit...6.com/?p=165 . Great concept! It made me draw my own conclusions about the similarities between the Wu and the Blue Note artists, respectively.

Great post!

]]> By: Jonathan Werve http://blog.iso50.com/2008/07/01/orange-black-and-gothic-all-over/#comment-34107 Jonathan Werve Mon, 04 Aug 2008 18:03:33 +0000 http://blog.iso50.com/?p=1903#comment-34107 Re: where can I get one? Aside from the obvious "buy the record" answer, there was a collection of these covers printed in a book a few years back. They're printed at original size, and some careful exacto work gives you hangable prints. I had, oddly enough, picked out three of the works cited here and had them on the wall of my first apartment. Loved them. Maybe Scott and I are seeing some of the same things. Re: where can I get one?

Aside from the obvious “buy the record” answer, there was a collection of these covers printed in a book a few years back. They’re printed at original size, and some careful exacto work gives you hangable prints. I had, oddly enough, picked out three of the works cited here and had them on the wall of my first apartment. Loved them. Maybe Scott and I are seeing some of the same things.

]]> By: ISO50 - The Visual Work of Scott Hansen » Blog Archive » PDP11 Handbook http://blog.iso50.com/2008/07/01/orange-black-and-gothic-all-over/#comment-31883 ISO50 - The Visual Work of Scott Hansen » Blog Archive » PDP11 Handbook Tue, 29 Jul 2008 09:01:53 +0000 http://blog.iso50.com/?p=1903#comment-31883 [...] it looks to be intentional in this case, as opposed to being an effect of aging like we saw in the Blue Note covers. Also, here’s an interesting example of a programming card from the PDP, unfortunately [...] [...] it looks to be intentional in this case, as opposed to being an effect of aging like we saw in the Blue Note covers. Also, here’s an interesting example of a programming card from the PDP, unfortunately [...]

]]> By: ralph fisker http://blog.iso50.com/2008/07/01/orange-black-and-gothic-all-over/#comment-28879 ralph fisker Tue, 22 Jul 2008 11:52:57 +0000 http://blog.iso50.com/?p=1903#comment-28879 I have to agree. Preferring cream over white is like calling the Middle Ages the Middle Ages - people at the time didn't make this reflexive move. Postmodern chatter they call it, that ever present longing for old times. It's part of your trademark, isn't it, Scott? That's partly what I love about it. Melancholy is my friend. But praising designers for their lack of white usage is, I'm afraid, telling your dog he's a great dog because he can bark. Problem is he can't do anything else, your praise is his prison. Bleaching methods and resources up till the 70's were rather restricted which made for paper that ages quickly. We love it, although people at that time maybe / probably didn't. I have to agree.

Preferring cream over white is like calling the Middle Ages the Middle Ages – people at the time didn’t make this reflexive move. Postmodern chatter they call it, that ever present longing for old times. It’s part of your trademark, isn’t it, Scott? That’s partly what I love about it. Melancholy is my friend.

But praising designers for their lack of white usage is, I’m afraid, telling your dog he’s a great dog because he can bark. Problem is he can’t do anything else, your praise is his prison. Bleaching methods and resources up till the 70’s were rather restricted which made for paper that ages quickly. We love it, although people at that time maybe / probably didn’t.

]]> By: ISO50 - The Visual Work of Scott Hansen » Blog Archive » More Color For Blue Note http://blog.iso50.com/2008/07/01/orange-black-and-gothic-all-over/#comment-28832 ISO50 - The Visual Work of Scott Hansen » Blog Archive » More Color For Blue Note Tue, 22 Jul 2008 08:44:31 +0000 http://blog.iso50.com/?p=1903#comment-28832 [...] the last Blue Note post I went with the more duo-tone offerings but with these 4 covers we see a bit more color injected [...] [...] the last Blue Note post I went with the more duo-tone offerings but with these 4 covers we see a bit more color injected [...]

]]> By: john http://blog.iso50.com/2008/07/01/orange-black-and-gothic-all-over/#comment-25502 john Tue, 08 Jul 2008 14:33:54 +0000 http://blog.iso50.com/?p=1903#comment-25502 i have to agree with frank on this one. while all of these covers are subtle, timeless executions, they are very much rooted in the style that became prominent in the 50's. Reid Miles worked on blue note mostly through the 50's and early 60's, and while these covers might not be his work, and might have been designed in the 60's, or possibly the early 70's, they are very much pulling from a style that was explored earlier. A beautifully set wood type sign can be just as timeless if executed as such, it would just owe its inspiration to a different time period, ya know? even if it is not your subjective stylistic preference. i would also have to agree with frank on the off-white/texture thing. applying a color to give a warm feel in the first place feels like a very post-modern concept to me. i have some of these old blue note records at home, and i think often the off white is the result of aging. anyway, certainly nothing to be embarrassed about (which i am sure you are not). continue to do great work! i have to agree with frank on this one. while all of these covers are subtle, timeless executions, they are very much rooted in the style that became prominent in the 50’s. Reid Miles worked on blue note mostly through the 50’s and early 60’s, and while these covers might not be his work, and might have been designed in the 60’s, or possibly the early 70’s, they are very much pulling from a style that was explored earlier.

A beautifully set wood type sign can be just as timeless if executed as such, it would just owe its inspiration to a different time period, ya know? even if it is not your subjective stylistic preference.

i would also have to agree with frank on the off-white/texture thing. applying a color to give a warm feel in the first place feels like a very post-modern concept to me. i have some of these old blue note records at home, and i think often the off white is the result of aging.

anyway, certainly nothing to be embarrassed about (which i am sure you are not). continue to do great work!

]]> By: vince http://blog.iso50.com/2008/07/01/orange-black-and-gothic-all-over/#comment-24453 vince Thu, 03 Jul 2008 11:18:17 +0000 http://blog.iso50.com/?p=1903#comment-24453 They are simply beautiful.. I can only agree with you, they are timeless, and they scream design, not an era... They are simply beautiful.. I can only agree with you, they are timeless, and they scream design, not an era…

]]> By: Luke http://blog.iso50.com/2008/07/01/orange-black-and-gothic-all-over/#comment-24275 Luke Wed, 02 Jul 2008 14:02:16 +0000 http://blog.iso50.com/?p=1903#comment-24275 I don't think it's fair to isolate this period of design and call it history's pinnacle.. These examples are of course fantastic. And maybe during this period of design, the general quality of work was higher than it is now. Before the days of desktop publishing and whatnot... I don't like the idea that many people push that states that the greatest design work could all be done by hand. "Simple and effective is ideal". I always thought that was some kind of universal truth, but I gradually began to think otherwise. When I stumbled on the work of Alex Trochut, that idea was shattered, and since I've been completely fascinated by his "more is more" method. What he does could not be hand. Some of it that is – some is done by hand. haha. Anyhow, all that to say that I love Alex's work, and I think he's a perfect example of what design can be today (one kind of design of course). I absolutely love your work too Scott, and I check this blog almost daily. But I think what you post all kind of flows through one vein, and it seems sort of a trend of design. Something I was absolutely in love with months ago. But it is pretty evident in your work, and I love this, that you love dirty paper. I kind of agree with Frank about the texture issue. To say that you don't prefer pure white kind of lowers a vast amount of impeccable design. And to say that, I think, also undermines your opinion. I think the pinnacle of design is yet to come. Maybe not though I don’t think it’s fair to isolate this period of design and call it history’s pinnacle.. These examples are of course fantastic. And maybe during this period of design, the general quality of work was higher than it is now. Before the days of desktop publishing and whatnot…
I don’t like the idea that many people push that states that the greatest design work could all be done by hand. “Simple and effective is ideal”. I always thought that was some kind of universal truth, but I gradually began to think otherwise. When I stumbled on the work of Alex Trochut, that idea was shattered, and since I’ve been completely fascinated by his “more is more” method. What he does could not be hand. Some of it that is – some is done by hand. haha.
Anyhow, all that to say that I love Alex’s work, and I think he’s a perfect example of what design can be today (one kind of design of course). I absolutely love your work too Scott, and I check this blog almost daily. But I think what you post all kind of flows through one vein, and it seems sort of a trend of design. Something I was absolutely in love with months ago. But it is pretty evident in your work, and I love this, that you love dirty paper.
I kind of agree with Frank about the texture issue. To say that you don’t prefer pure white kind of lowers a vast amount of impeccable design. And to say that, I think, also undermines your opinion. I think the pinnacle of design is yet to come.
Maybe not though

]]> By: Aleksander Dahl http://blog.iso50.com/2008/07/01/orange-black-and-gothic-all-over/#comment-24236 Aleksander Dahl Wed, 02 Jul 2008 11:08:20 +0000 http://blog.iso50.com/?p=1903#comment-24236 Very interesting points you make here. Especially what you say about design reaching som kind of top, or klimax in the 60's-70's and that design from that aera is graphic design in its purest form. Altough i do agree to some extent, i woulden be as bold to say that later design don't commucate a message as perfectly as you say the 60's - 70's designs do. I believe that the minimalist design and all other types of design are just different styles, genres if you will, and i think that the choice of style in you work is also a part of communicating the message. Beacause there are a lot of different sub cultures today, probably more than there were in the 60's, you often have to direct your design towards much smaller groups than you would have to before. Therfore, i think that the choice of style in your work is quite important and big piece of the actual work and i wouldn't say that everything else than the minimalism from the 60's and 70's is not as perfect as design once was. Just different times. Very interesting points you make here. Especially what you say about design reaching som kind of top, or klimax in the 60’s-70’s and that design from that aera is graphic design in its purest form. Altough i do agree to some extent, i woulden be as bold to say that later design don’t commucate a message as perfectly as you say the 60’s – 70’s designs do. I believe that the minimalist design and all other types of design are just different styles, genres if you will, and i think that the choice of style in you work is also a part of communicating the message.
Beacause there are a lot of different sub cultures today, probably more than there were in the 60’s, you often have to direct your design towards much smaller groups than you would have to before. Therfore, i think that the choice of style in your work is quite important and big piece of the actual work and i wouldn’t say that everything else than the minimalism from the 60’s and 70’s is not as perfect as design once was. Just different times.

]]> By: Scott http://blog.iso50.com/2008/07/01/orange-black-and-gothic-all-over/#comment-24201 Scott Wed, 02 Jul 2008 08:22:53 +0000 http://blog.iso50.com/?p=1903#comment-24201 Frank- I see your points, but as I said, I'm not educated in design, I just use photoshop a lot, and I'm definitely not embarrassed by either of those facts. To me, texture and form are two inexorably linked properties which both hold equal significance. a quick look through my work will leave no doubt as to that fact. You're right, the forms alone would still stand strong if you injected white into all that space, but that doesn't change the fact that I prefer them as they appear above. these don't scream 50's to me, as far as I know they were all designed in the mid 60's. either way, I was trying to make the point that designs like these seem more classic and timeless than the sort of stuff that followed later in that same decade and on into the 70's. Frank-
I see your points, but as I said, I’m not educated in design, I just use photoshop a lot, and I’m definitely not embarrassed by either of those facts.

To me, texture and form are two inexorably linked properties which both hold equal significance. a quick look through my work will leave no doubt as to that fact. You’re right, the forms alone would still stand strong if you injected white into all that space, but that doesn’t change the fact that I prefer them as they appear above.

these don’t scream 50’s to me, as far as I know they were all designed in the mid 60’s. either way, I was trying to make the point that designs like these seem more classic and timeless than the sort of stuff that followed later in that same decade and on into the 70’s.

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