One way to get away with it is to have cool notebook covers:

The book on the right is where I use the very traditional way of writing down quotations given by suppliers/printers:

A classic Charles Mossant advertising poster on the cover of a notebook will surely add some level of sophistication…

Rejected logos sometimes made cool covers:

And of course, the elegant Moleskin (kind-of in my case…):

Well, I might be wrong, sometimes, designers carry boring notebooks with brilliant sketches and ideas inside. But hey, its about what’s in the inside right?

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Of course, you can be strictly consistent in your notebooking, Michael Beirut style.

Typeface: Trade Gothic, what else?

This art piece currently sits comfortably in our clients meeting room, facing one of the directors I think.

—Bruno Maag on Helvetica.

Take from Creative Review blog, titled The Helvetica Killer (absolutely brutal title I think). It also shows  interesting views on Helvetica vs Univers and their new nemesis, Aktiv Grotesk. This is how I look like on-screen in Aktiv Grotesk:

I don’t use Helvetica anymore but the thing is how should I categorize this now? At least in my profession (as a graphic designer) Modernism is Helvetica. Blogs preach about it, designers argue about it and even lecturers teach about it. Also taking into consideration that Victorian stuff is usually decorative and ornamental (and also that floral thingie…), which is the exact opposite of the general understanding of Modernist Principles that Helvetica impresses us with.

Helvetica is Victorian; honestly, I have never seen it that way before. Respect.

Before meeting Stefan Sagmeister, I’ve always imagined him being somebody totally out of reach, would expect him to answer questions very rigidly and probably not very easy to start a conversation with him and keep it going. He was totally the opposite. And I sure am glad that I had the rare opportunity to spend an evening with him.

After a talk which he was giving in Kuala Lumpur sometime ago, my colleagues and I were asked to accompany Stefan for a little tour to somewhere which he might be interested to visit around Kuala Lumpur city. Before boarding our transport, we had in minds to take him to Central Market, where the art scene is probably most happening around the city. But while discussing with him where he wants to visit, he gave an answer which surprised me; Batu Caves.

I admit I have not yet been up the caves before that. And while being asked by him whether I have been up there or not, I could not help but feel a little bit embarrassed and answer with an honest ‘no’. Same goes with the rest of the gang. We were also accompanied by Stefan’s friend, Alexander, who was then an artist in Bangkok. He told me that they both meet when Stefan hitch-hiked from his hometown back in Vienna. And I asked him if he had that funny long extreme left-parting hairstyle back then, he said yes with a huge laugh.

Like Neville Brody, he was also interested in the cultural heritage which Malaysia has. He spoke of his wish to visit the Islamic Arts Museum and also other spots which have deep roots in forming the Malaysia we know of today.

Batu Caves was almost an hours ride from the talk venue so we had lots of time to chat. We talked on his new projects back then like the famous digitally woven spider web which gets ripped everytime a viewer’s reflection passes it and reconstructs itself time and time again. Also we talked about the capabilities of new media and upcoming technological gizmos which seems really fascinating to talk about especially with him. He seems so interested in the advantages these things can offer. We also talked about Neville Brody; on being politically correct in design conferences (I’ll keep this open to your imagination). And also photoshop drop shadow effects.

We arrived and climb the stairs up to the caves. Up there, we were analyzing shapes of rocks which look almost like hanging alligators. And also stood silently observing the monks doing their prayer routines. We had a some drinks after that and then talked a little a project where he was commissioned to design a packaging for a cigarette company which did not manage to hit the market.

On the way to the seafood restaurant, we spoke of the newly reunited David Lee Roth and Van Halen gig. And he spoke of him being a band which he played flute in. Also touched a little or two about religion and beliefs. Over dinner we had more conversations about our lifestyles. Things that we do in our weekends and off times.

It won’t be until a few weeks later when we would meet in Goa for a design conference. It felt really warm talking to him and do a little catch up on things. The airline company actually misplaced his bags into another flight on that trip! But he sure does seem like he is having a great time during the conference.

After all that being said, I learned two important things from him:

And also, being as honest as possible in life.

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Stefan Sagmeister is probably what every young designer in my era look up to for inspiration and want to be like. He has designed album covers for the Rolling Stones, the Talking Heads, Live, etc. He is very tall.

Kancil Awards 2009 results: This is my first year at the Kancil Awards dinner presentation after so long. I really enjoyed the ambiance; it was really energetic. My guess is that if it were a design show awards, probably bored like soft-rock-metal (most designers are cold-blooded introverts).

Here’s two of my personal favourite entries for this years Kancils:

• (3.2) Websites — BRONZE, Doooodolls, XM Malaysia
• (2.1) Print [Single] — BRONZE, Hair, Naga DDB/Rapp

I think I am considerately lucky. I meet a lot of my design heroes in my first four years working professionally as a graphic designer. It was a thrill to meet and hear these heroes speak and observing them live in person. I do believe that what we hear and read from blogs and other media might not reflect the personality or energy these individuals carry. Even by observing their works closely, its still hard to accurately identify with the characteristics the person has as an individual to the people he/she is around.

My first encounter of an absolutely famous designer would be Neville Brody of Research Studios. It was back in 2006 when Mr. Brody first visited India to speak in a design conference. He seemed really happy and excited to be there. All I could do to get an excuse to start a conversation is to ask for his autograph. Upon approaching him, he declined and mentioned that he needed to rush off to get something from his room. Probably his computer for his presentation which was coming up pretty soon.

It won’t be until the conference was over, and while I was having lunch with a colleague when he approached us and I asked for his autograph again. He gave me this:

Well, I must say I was happy to even get this from him. He looked pretty bored while signing it; probably because he had signed a thousand autographs before that.

Yearly, we would be in the same design conference but well, he being speaker and me delegate, I never could find a good reason to go approach him for a talk. Until last year when I had to pick him up from the airport for him to speak in a design conference the company was organizing. I was late. He was waiting. I had one of his framed up posters as a hoarding for him to know who to follow to bring him to the designated hotel. We got a cab, hopped in. In not more than 5 mins in the cab, he pointed out to me a Maggi Noodles Truck, with FF Blur on it. It was indeed ironic to be greeted in such a way. ‘Hey, that looks like one of my typeface…’.

We talked about the long stretch of empty apartments and houses we spotted along the way to the hotel; why were they empty and non-vacant. Conversation then moved on to him asking whether there was a sort of ancient writing for the Malaysian language and also I gave him a brief history of Malaysia. He seems to be interested in that point: On how the Indians from India immigrated over, the Chinese from China, Malays for Indonesia, etc. And of course, we talked a little about what his studio does and what Figtree does.

Few days later we would go watch football, thanks to Andy Altmann of Why Not Associates love for Manchester United (dragged along the guys from DixonBaxi as well). But before that, we had some Penang food, of which he taught the jelly in the Ais Kacang tasted medical. It was here that we had our goodbyes. I thought he would be around of this years Designyatra conference in India but was not present.

I only had 5 golden minutes with Erik Spiekermann. I brought along with me to India this time, a fontshop tribute issue to him containing wishes from various designers and students to him. It would be ashame not to enhance the booklet with his signature on it of course! He seemed suprised to see that book and asked how did I get it; it was a very personal thing to him he mentioned. He also seemed suprised when I mentioned to him that I do have some other fontshop publications and the really old druk publications, maked even more suprised. He was the one who told me that that particular issue was designed by some of his students for him and printed at the Hague in a very limited run. He was really chatty, took him quite a lot of words with me to get the date and location correct on this one:

—–
Both Neville Brody and Erik Spiekermann are design legends and very influential typographers.

I remember rushing through a whole lot of things for Designyatra this year during end of August. Now, its all over for almost two weeks plus and suddenly life moves on at its usual phase.

Was quite an experience really to be there this time around. Simply because I needed to be on duty to make sure certain things go as according to plan. Compared to past year where I was just a delegate. Starting off with me finding out my flight was only 4 hours away. In the midst of packing and rushing through to make sure I brought the correct pair of socks to keep me comfy, I realized that this is not going to be an easy trip.

I spend the last three days prior to Designyatra working on event graphics and other related matters to the event. Yes, it was pretty chaotic as there were a lot of things to pay attention to. From working with the visual and audio guys, to the guys producing the event graphics, and to the guy who approves them all, and oh, the guy producing the event too.

Besides occasionally standing at the AV area, worrying about which speakers laptop works and which doesn’t, trying to ensure speakers credits appear accordingly and also videos and presentations go on well, getting a feel of being out of the comfort of working without colleagues is a scary thing really. No doubt the availability of the internet saved my life a few times, working under the thrill of making rushed last minute decisions remains haunting.

Of course its stressful to battle against time and at the same time, trying to ‘conceptualize’ Erik Spiekermann looking at it and what if he says ‘boooo’. I really think it will be a career breakdown really. Its confirmed in my experience, that designing for the creative people can be a tough thing at times because of the levels of extremes that exist in our taste for design. Letting the work you do being exposed to the whole creative industry, where almost 1,200 pair of trained eyes looking at your little booklet, its scary.

Let me side-track a little bit: Was with a very famous designer sometime ago and he told me that designing for the creative community is actually an easier thing compared to designing for corporate clients and those from other industries. I asked him why. He told me that chances of them liking it because you like it is higher. To a degree, ironically, I do believe its true regardless of my fear of being in this position.

Back to the conference; on a lighter note, I did enjoyed the conference a lot. No doubt I felt uncomfortable traveling through the streets of Mumbai to the venue due to the heavy rain and uncertainty whether I will get caught in a flood or not, it thought me of how life is on the other side of the world.

Listening to the Dutch designers going through their pile of work and the ADDIKT guys was a good break indeed. I felt day 1, where the focus was on architecture and interior design a little bit solemn. Serious. Probably extracting them out entirely as an independent event might be of consideration for next year. Ben Terret’s talk about his ever changing perspectives as a designer was highly entertaining but very real. It reminds me of how much I dislike certain things which I use to think was fascinating. I was in 100% attentive mode while  listening to Wally Olins and Michael Wolff walking down memory lane. And it opened up my eyes to see the importance of finding the right people to liaise with at work.

Another one of the awe moments of the conference was when Erik, the last speaker asked the audience to point out the name of the typeface used on the stage backdrop (or as the primary typeface for this years Designyatra identity). ‘Akkurat’ he prompted. Followed by a good piece of advice ‘Never read anything without knowing what typeface is used.’

All that been spoken, I was at a very peaceful state of mind sitting around the pre-function area observing the event crew setting up the graphics before day 1. It was satisfying.

Random posts about Designyatra 2009:
_http://www.afaqs.com
_http://noisydecentgraphics.typepad.com
_http://www.creativereview.co.uk

Comments from my last gig with my band is that I was pretty still like a rock. So, upon pulling votes, finally, we all needed to work on our showmanship.

I can’t be like Pete Townshend really.

Or do Slash’s ultimate body-bend.

I think I’m the John Mayer showmanship kind…

Obviously, I can’t do Jimi Hendrix kind.

I wish I could do Steve Vai type. He’s the coolest.

Derek Trucks kind is my kind too.

So, what to do now?

Find out tomorrow night @ Capsquare KL, my band’s set is 11pm.

Hope I don’t screw up.

*Pictures are taken off the net and used for illustrative purposes.

Probably an extension of my favor for British Design. Have combined it with Times New Roman, Sabon, Galliard and other old style typefaces. Possibly sometime ago, I stunningly tried to combine it with ITC Avant Grade; yes, I failed of course. You will need to be a pro typographer to do it.

And like many others, I do think its overused. Easily available on any computer running on either Windows or Mac platform, accessibility to the typeface further results in even more usage and some bad public examples. Some inappropriate usage as text, boring usage on ad’s and sometimes an eyesore on billboards.

I like it on book covers. I like it in large sizes on a small confined grid on a canvas. I like it as headlines, subtitles and quotes. I like it in capitals. I think if evenly spaced, it can be elegant and beautiful. And I love the black sheep of the family; the italic ‘p.’ I love the lowercase ‘g’ and think that ‘a’ is annoyingly addictive to look at. But all said in this paragraph, only if set in the hands of someone who appreciates it and has a good eye for it.

Other humanist sans typefaces like Agenda or FF Milo might have better consistency and beauty and more weights but I guess I’m sticking with the fact that Gill Sans has more authenticity. It would have been so much more exclusive if it hadn’t been overused widely.

My thoughts on Gill Sans extends beyond the sophistication of the typeface alone. I have an admiration for the complicated life of its creator, Eric Gill. Having to have read An essay on Typography and halfway through reading his biography, my admiration for the man simply developed a little further. Though I might not take his spiritual theologies as good advise sometimes. And of course the sexuality stuff he keeps mentioning about and repeatably shown in some of his work. Probably after completely reading his biography, I might change my mind on this.

Fontshop.com has some alternatives to Gill Sans, of which it will be a crazy idea to use with. Eric Gill is also featured in this months Creative Characters newsletter from Myfonts.

Someday, I will challenge myself to the ultimate task of using Gill Sans next to Stone Sans. Might never succeed.

I know, sometimes I overly mention about Gill Sans.

U2 have made available streaming of their new album, due to be released next week, March 2nd, on www.myspace.com/u2.  Fans get to enjoy. Critiques filling up their myspace comments.

Well, I’m thinking, should I get the digipak set? (Since I have the special edition set Atomic Bomb set).

Reminds me of that Haptic, Kenya Hara, emptiness, Japanese thing. Despite the recent controversy about the design of the album cover, I still think it’s nice.