After watching this film last night at our incomparable local independent video rental store and theater, Cap City Video Lounge, I came home and asked myself: what if Kathryn Bigelow’s 1987 vampire feature Near Dark was released in 1967 instead of 1987? Then I stayed up way too late and made this poster.
I just randomly stumbled across this collection of WPA-designed posters at the Library of Congress and, just… wow. Every item in the collection is cool, ultra modern, progressive, clear and concise. Almost all of them have something to teach about good design. I even love the bad ones.
In Grafica della Strada, designer Louise Fili lovingly documents the wildly creative shop signs, billboards, and other signage of the Italian street. “In the hands of a sign craftsman,” Fili writes, “type took on a new life, with a tantalizing menu” of styles, materials, and techniques. “Many of the signs proudly bore the imprimaturs of their makers” she explains. All of them are beautiful and inspiring.
Inspired by Fili’s valentine to Italian signage, over the years I began looking around for examples of well-crafted or creative signage here in my little southern hometown. To put it mildly, I’ve been disappointed. American streets certainly match their Italian counterparts in quantity. We are surrounded by signs, assaulted by their messages all day. When it comes to variety or creativity, though, our humble American streets leave much to be desired.
The problem, I believe, is one of commodification and transportation. What makes the signs in Fili’s book so wonderful are the myriad personal touches, the unique lettering, the diverse materials. They catch the eye in spaces that operate on a human scale, like pedestrian areas and urban centers where people move slowly. American signs must catch the eye on the scale of the automobile. Just about every sign here seems to be a sheet of printed plastic hung in front of a bank of lights, therefore, towering above the street where it can be seen from a distance at a high rate of speed. Signs are manufactured to corporate spec by franchisees for many businesses. In almost all cases they are manufactured using commodity materials, a limited design language, and industry-standard methods. It is a competitive business with precious little room for experimentation, serving customers with precious little appetite to break the norm. As business moves more online, I suspect this trend will only worsen.
Or so it appears. I’m willing to believe that this is a superficial reading of the American sign landscape, and I hope to prove myself wrong on this blog.
I’ll start with an example that is not beautiful, necessarily, but is remarkably different from the norm. I spotted this sign at the entrance to an “established” (that means old, in real estate terms, but not old or special enough to be “historic”) neighborhood on the opposite side of a busy road headed out of town. I swung around to take a few pictures, but could not find a good place to pull over until I spotted a side street a few hundred yards down the narrow entrance road. This gave me an excellent opportunity to walk through the neighborhood. The sun was shining warmly, and birds were singing songs of early spring in the trees overhead. Homeowners along the street have added, over the years, little hahas and embellishments to their yards. The neighborhood was peaceful, lived in. Alain de Botton argues that “those places whose outlook matches and legitimates our own, we tend to honour with the term ‘home.'” To call a place “home,” he says, is “to recognize its harmony with our own prized internal song.”
I was easy to see how Runnymede is home for its people. This sign was not as handsome as it may have been thirty years ago, but it speaks to the unique character of the community it represents. Perhaps it “sings” their “prized internal song.”
This is the first lesson in my study of American signage. Context is important. John Dewey rather famously wrote: “When artistic objects are separate from both conditions of origin and operation in experience, a wall is built around them that renders almost opaque their general significance.” A viewer cannot fully understand art unless they see it in the place and form in which it was meant to be seen. A sign is meant to be seen in a particular place. That is its purpose. Its value as a work of art is way down the list of priorities. I regret now that I did not do a better job of capturing this sign in context.
I have wanted to make this for a very long time.
Just came across this quote in C.J. Date’s Database Design & Relational Theory, which is a more interesting book than the title might suggest.
“In computing, elegance is not a dispensable luxury but a quality that decides between success and failure.Edsger W. Dijkstra
Watching problems that could have been solved years ago by thoughtful design cascade now one upon the other in the systems at work drives this point home. Spend more time thinking than doing.
“When we gazed upon all this splendour at once, we scarcely knew what to think, and we doubted whether all that we beheld was real.”Bernal Diaz del Castillo, The Conquest of Mexico and New Spain
You land on a strange “installation” and there are a few moments of silence for you to take in this unique world. After a quick look around at the clearing where your shuttle crash-landed, you make your way across a narrow bridge high above a bubbling stream. To the right, the stream cascades down a well-beaten course cut through a precipitous rocky valley. To the left, this. This expanse of land, water and sky slicing the inky vastness of space. There is a dialectic of sublime beauty and precarious terror in this space. You feel as though you could peer into the cumulus distance for hours, exclaiming at the wonder of it all like Bernal Diaz del Castillo and his murderous crew of invaders. They felt as alien in Tenochtitlan as you feel in this place. The only choice, though, is to pass through an evergreen grove up the rough path leading toward the source of the stream. There is gunwork ahead, unfortunately.
What I want to suggest, in this and future posts about video game spaces, is that games are a new design commons — a new public architecture that we should take just as seriously as we do “real” spaces. We inhabit games for longer periods of time than we inhabit most public spaces. I’ve spent more time running around the archives level on GoldenEye than I have spent in church; far more time driving around the virtual streets of San Andreas than riding the subway in New York City. All of these spaces were shaped by human hands and minds for humans to inhabit.
I also hope to think through some of the design problems inherent in games. These are not democratic spaces, for example, and they are not free in any sense of the word. Burning electricity instead of calories, too, may not be sustainable for our bodies or the planet. As in Halo, violence is the dark centerpiece of most video game spaces, as well. What cultural work are these costly, undemocratic, and violent realms performing? Are we designing and inhabiting beautiful hellscapes?
I’ll share spaces in games here when the inspiration strikes. I hope you can use them to question your assumptions about architecture, landscape, and industrial design, as I am. At the very least, I hope that you can appreciate their beauty and the skill that goes into designing and building them.