Original Sparks

I cannot seem to locate a seminal interview on creativity. It’s something I read in the ’90s; and I’m convinced it was by Julie Taymor. She was discussing her creative process. What I recall was she had an anthropological method of creating inside the box. By keeping boxes in her studio she would throw everything in that inspired her: a piece of fabric, books, scribbles and notes, everything. She would maintain boxes by concept, character, project—whatever is relevant. That way as she begins to push the subject she can always return to original sparks. A texture that had been overlooked until it was ready to be incorporated could re-emerge. A gesture or line that couldn’t seem to be re-drawn needn’t be lost. More importantly, this method of capture allowed her to delve back as far as she can research until she discovers the archetype, origin, the kernel of the thing she is pursuing. If by chance she is led astray, she can always undo. I love this methodology. It’s a concept that I think of several times a year. Twice I’ve heard Grant McCracken present on archetypes and it’s a topic I want to explore further. I’m interested in learning more about the intersection of gestalt, archetypes, and anthropology.

I’ve been thinking of Julie Taymor recently for having seen The Lion King musical again. Naturally it only makes me want to rewatch Titus or Frida. I love Ms. Taymor’s art brut methods. Her brazenness and nuance are covetable.

For lack of better, here is a fine interview between Ms. Taymor and Oprah. The photo above is from Sara Krulwich/The New York Times.

Exposed Grid

University of Utah Health Care's Information Technology Services hadn't updated their strategic plan in a decade. This decision-leading document needed to be progressive, confident and engaging. I felt we should be front-and-center about infrastructure by leaving the booklet's grid exposed on the cover. The spare cover also adds a nice counterpoint to the photography-rich interior. Each spread has a health care photo where technology is integral to medical practice.

The table of contents is also left exposed on the cover. The booklet is split in halves: The Introduction has an orange background; The Plan — a yellow ground with a faux watermark. The photo well and type columns adjusts with each half of the book. All images have a shiny UV gloss. UV also adorns the vertical and horizontal lines on the cover, as well as our title. It's a great finishing effect that helps emit the back-lit technology photos used throughout. Principal photography is by Kevin Lee.

Page numbers are represented in Hoeffler & Frere-Jones' Dividend, from the Numbers family. Numbers has a pixel-like quality in spite of it's low-tech origins (designed after antique perforated check writing machines) that plays well with the display face Headroom, by TypeTrust. Headroom is a mechanical all-caps face that includes a cheeky ink-trap alternate. The booklet's text face is Scala Sans.

To keep costs down, we constrained the booklet to one parent sheet. To keep the book polished, we had it perfect bound. A companion Web site can be found here.

I Wan'na Be Like You

I recently saw Waking Sleeping Beauty—a documentary about Disney's animation studio from 1984-1994 (e.g. age 11 to the year before I graduated from college). I went in as a patron of the artists ... and left having revisited the entirety of my adolescence through the lens of fantasy and imagination without any other cultural references. What an amazing revisitation. I was stupefied by the flashbacks, and emotions it conjured. It was unique to remember moments and people, but not all the other stuff. I love contradictions and this was a great one: to feel simultaneously connected to this magical realm, and yet to have had a completely objective review of that most bizarre period of life—adolescence.

It was equally unique to review my career decisions that led me away from animation. When I think of the journey of an artist and all the motivations and inspirations juxtaposed against our changing culture ... I can't say I'm sorry. I'm really happy with my life in it's present state. But it's always heartening to have cinema and animation available. Catharsis, fantasy, escape, and ultimately—confronting reality—all seem implicit parts of the viewing experience. Spectating is rarely a passive experience.