Package Design China + Survey Select Revise

“Survey Select” was an eight-week art happening and cultural event that took place last year from July 15 through September 5, 2010. Art and culture in San Diego would never be the same as “Survey Select” featured 68 world-renown artists, 8 acclaimed writers and 32 live events including: films, workshops, lectures and musical performances.

As you can imagine, “Survey Select” was a labor of love and personal vestment of blood, sweat and tears, but totally worth it in every way. One of the highlights, and there were many, happened on Wednesday, August 18 when 31 leading luminaries, designers and educators from China snapped their way through the “Survey Select” space. My close friend, Bennett Peji, City of San Diego Commissioner of Arts & Culture, was returning the favor to the Chinese contingent, as one year before was visiting China’s design scene in Beijing, Shanghai, Shenzhen and Hong Kong.

As luck would have it, the publisher and chief editor of Package Design China, Huang Li was in attendance to record the entire happening. It was a great day, we spoke design, presented our works and socialized, trading business cards, samples of our work and promising to keep in touch.

Package Design China recently featured some of the San Diego design community in their most recent edition. I am honored to report that Murphy Design was featured over 6 glossy pages, along with Bennett Peji Design, Studio Conover and Visual Asylum. Thanks to Package Design China for celebrating innovative work for Ray Caesar, Hanna-Barbera, Brandon Boyd, Green Day and over 1000 artists represented on the pages of over 21 books represented in the magazine.

And this provides another perfect opportunity to give a shout outs to the entire “Survey Select” community who made it all possible—ALL featured artists 1-2-3, Jillian Seaman, Ninthlink, Clients & Profits/Mark Robillard, Marque Arts/Kelley Padrick, John Purlia, Communication Arts/Patrick Coyne, Art House Films, MANUOK, Glaceau, Trumer Pils, SDVAN, City Beat/Kinsee Morlan, USAToday/John Geddes, KPBS, Bennett Peji, John Goff, Gilad Segal, RedBull, Marti Kranzberg, Nancy Lutz, Michael Carbone, Hanna Chang, Pizza Rider/Hilary Rossi, Manuel Bello/Fecal Face, Lauren Saunders, Jolie Cash, Cindy Westen, Neysa Ramirez, Jeff Teitelman, Shae Stromme, Mariko Annu, Angela Costello, Jim Murphy, James and Ardelle Murphy, Art SD10/Ann Berchtold, Artist as Brand/Greg Spalenka, Illuminated Perfume/Roxana Villa, Bells&Whistles, Tasha Rae Jewelry/Tasha Rae Tatro, Chris Heimbuch, Oo Gallery/Kevin Paulsen, Barbara Nessim, Leila Tavakolizadeh, SSI, DJ G Roy, Thesis, Drew Andrews and all of you who traveled near and far.

Look out for more soon and “Lucid Dreams” featuring 30 fine artists (and more) from around the world July 08 through August 09, 2011 at the Noel-Baza Fine Art Gallery, and curated by Mark Murphy. Special events announced soon, including Comic-Con Booth No. 4833. Sweet. (Gary Taxali pictured above).

The Return of Narrative Art by Patrick Coyne

Narrative, a fundamental driving force behind centuries of art, is again preoccupying artists who've either rejected or never fully embraced Modernism's, idealistic search for progress through abstraction.

But after decades of movements and countermovement—abstract expressionism, lyrical abstraction, geometric abstraction, minimalism, abstract illusionism, post-minimalism—why the return to content and context over work whose artistic value is entirely determined by its form?

Joachim Wtewael : 1566-1638 : Dutch Mannerist Painter

Perseus and Andromeda (1611) : Cephalus and Procris (1595-1600)

Our society is in the midst of a radical reassessment and restructuring—what was once known to be true no longer applies. There exists a need for future mythology and iconography, symbolic narratives explaining how the world and humankind might evolve from their present form. Narratives can teach, enlighten and inspire us to move forward with hope and aspiration.

We are now entering the Attention Age, a time of increasing commoditization of attention as it relates to the proliferation of available information. We are continuously besieged with imagery and iconography from many cultures, appropriated with abandon and stripped of its meaning. This era of media bombardment means our processing of ambiguities and nuance may be more dependent on what we read or hear than what we see.

Ancient Egypt : Mayan Culture : Riverside, Ca.

The desire for storytelling is intrinsic to human existence. Since ancient times artists depicted figures and tales from mythology, legend or history, stories that the viewer probably already knew and could retell in his or her mind while viewing the representation. This worked well until the industrial age scattered and mixed cultures like a societal blender.

Modernism

Hans Hurtung (1904-1989) : Piet Mondrian (1872-1944) : Kazimir Malevich (1879-1935)

Modernism began as traditional forms of art, architecture, literature, religion and social hierarchy were seen as outdated in the new social, political and economic structure of our emerging industrialized world.

Odilon Redon (1840-1916)

Guardian Spirit of the Waters (1878) : Cyclops (1914) : The Crying Spider (1881) (1840-1916)

While figurative and narrative subjects were utilized by the early modernists, this direction was largely rejected by the 1950s, viewed as inappropriate to the purity of formalism, which focused on compositional elements such as color, line, shape and texture rather than realism, context and content. By the 1970s, critics began to undermine the exclusivist nature of modernism by recognizing and championing a multitude of directions. Relativity was accepted as an unavoidable truth and led to the Postmodern period where the dominance of traditional media gave way to increasing exploration and respect for photography, installation art, video and electronic-based media.

By the 1980s figurative and narrative art had become viable alternatives to abstraction. But this new narrative art is not a return to the past. Today there is an unprecedented range of narrative techniques, the result of advancements in media and materials. More importantly, the sources of content have expanded exponentially.

Walton Ford : (American born 1960) : Falling Bough : 3' x 9' : 2002

Since art provides an opportunity for reflection, the narrative approach seems especially suited to twenty-first-century society's obsession with psychological self-examination and the broadcasting of every waking moment through various forms of social media. While the process of interpretation may be an uncertain endeavor, with narrative art we are free to interpret and absorb the artist's message without intellectual labels or manifestos.

As we search for new directions, narrative art has something to tell us. It speaks to the soul about our ideals and values. It speaks to the past and the future of who we were and who we might want to become. Narrative art helps to create meaning in our lives.

Patrick Coyne is an artist, designer, writer, musician, editor and publisher of Communication Arts, the leading trade journal of visual communications. For more information please visit Communication Arts online. 2004 AIGA Design Leadership Award Recipient.

CA Illustration Annual No. 51 Thoughts

the hallowed halls of Communication Arts and detail of Marshall Arisman painting

Late in January, I was honored with the responsibility to review over 7000 entries in this year’s “Communication Arts” Illustration Annual No. 51. The Patrick and Jean Coyne were very hospitable as myself and 4 other judges hung out in the Menlo Park area, chatting about inspirational topics and the state of the communication’s industry.

C.F. Payne

Admittedly, I found myself like a duck out of water, as Chris Payne, Rob Wilson, Joan Ferrell and Melanie Doherty discussed serious topics about the decline of the magazine industry and feelings of instability. And as I reflected, it was interesting to me that all of the chosen panel were over the age of 35. Is this a reflection on the “lack” of art directors working with illustrative professionals, (I know that there are many young guns making their mark in new media avenues, leaving traditional media behind).

"go for it”

Further introspection put me in a state of mind that sees many of today’s creative types in DIY (do it yourself) mode, maximizing minimal budgets, responding to quick turnaround or solving visual problems with little to no on-the-job mentoring. This observation was furthered in the “CA” competition, witnessing many graphics created for indie music posters, CDs and self-promotions.

Jean and Patrick Coyne : C.F. Payne

And as we await the final results for CA Illustration No. 51, I thought to share some of the questions that were asked by Patrick Coyne, as a result of judging “Communication Arts” Illustration Annual No. 51 this year. I submit this respectfully, for consideration and by no means a final indication of the state of the industry, as I write in a matter of personal opinion only. Enjoy.

Chris Buzzeli (Great example of an artist who consistently pays attention to the details)

1/ What was your overall impression of the submitted entries?

The entries shared many of the same repetitive themes and subject-matter, this could have been the result of popular storylines and art directors borrowing similar ideas amongst like-minded publications. The portraits of Lincoln, Edgar Allen Poe, Obama, Biden and Palen were favored, while monkeys, severed appendages and teddy bears found their way to the top of the most popular. (Though, not necessarily inspiring to look at, sorry!).

Colors seemed to be off this year, possibly the state of flux of 2009 or too many logged in entries on FB and Twitter, a clear distraction, while the illustrator should have been working. Colors were often mismatched in the final composition a bit garish at first glance. Which leads me to ask? “What happened to analysis of color, composition and continuity in the final illustration?” “Is there a heavy reliance on the computer to spit out true genius or do commercial peoples truly swim in the sea of color possibility?”

Personally, I felt the gap between top-level rendering and amateur presentation have further widened. And as I reflected further, this might be due to the state of publishing as a whole: lower budgets, inexperienced art directors, shorter deadlines, senior editor control, ill-prepared graduates and a lack of industry-wide participation in annual competitions. (And I further ask, “When are colleges going to be challenged for their lack of inspired graduates? I mean how many thousands of artists do colleges on a world scale kick out each day? Huge topic, scary thought and it psyches me up to think that in a given year there might be less than 50 super stars emerging each year. I want to know who they are and celebrate their genius).

Examples of Melanie Doherty and Joan Ferrell’s Art Direction
(Pete Ryan for American Lawyer on R)

2/ Did anything surprise you about the entries?

When I arrived at Communication Arts to review 3,500 of the 7,000 visual references entered I was completely open minded for each image as it was presented. Surprisingly, artist’s failed to edit the amount of work submitted before entering it into this competition. (In one year, look at your top ten, and pair it down to your top 5. Maybe throw a non-illustrator/artist in the room).

When working alongside of 5 unique judges, I never know how a competition will turn out. There is always that worried thought that the final book might represent a poor reflection of the submitted entries. (One judge might favor a cute image over a more serious image by example. I like well articulated work that makes me feel something emotionally or inspires me to connect, FYI).

The “Non-Published” category was the weakest category. Possibly the work was entered by young professionals recently exiting school or possibly student works. I would say that this category should be redirected in 2010, to personal work, experimental work, student work, rejected/canceled work, non-profit work and thus, stronger entries.

Gary Taxali

3/ What did you see as new?

After 20 years in the industry, it seems that portraits were the hot ticket, which was great to see, (not really new). There were many different styles, drawings and paintings in this category. Many commercial illustrators (artists) who are trying to make the leap into the gallery space, seemed like they were well represented. (I am a kid always open to see more, newness, things that echo personal style, chancy rendition and leaps of faith on the page. I would have loved to see more of this idea).

Another observation was how design has influenced many of the presented styles that include flat graphics with texture, Dover clip art, Martha Steward inspired layouts, evolved iconography, and Saul Bass knock offs. This could be a result of art direction style, safe measures to please the board and non-confrontational images that get the job done, as opposed to raising eyebrows, challenging readership or spending the time to articulate a creative concept more completely.

Yuko Shimizu, “Tsunami” art direction by Rob Wilson of Playboy

4/ What was the biggest disappointment about the entries?

I think it was great to see the variety of entries. The tough part about this year’s entries is the fact that many talented folks are trying to do the best they can with little resource, too much art direction, or not enough opportunities to take care of an industry that is now inhabited by comic artists, designers, animators, concept artists, medical illustrators, commercial artists, hobbyists, celebrities and students.

Today’s commercial illustrator is challenged by the fees in a current downsizing of a global marketplace and “for free” illustration that is available to “get the job done” mantra exercised by many emerging artists, free online resources, DIY designers and a lack of college preparation for today’s marketplace for new professionals entering the field.

Joseph Hart, Gary Baseman, Ryan Wallace open art direction by Mark Murphy
Tree Hugger tShirts yet to be released

Murphy says it’s all about the exchange, “I started my firm in ’91 and soon realized that the best work was inspired out of mutual collaboration. I loved themed projects, calendars, and graphic narrative promotions featuring motivated friends. They were constantly searching out opportunities. Never knowing how something was going to end up looking visually, I found the easiest way to best represent and record all of this goodness was to publish books. And thus, Murphy Design and Murphy Fine Art Publishing and Exhibitions were born.”— CrownDozen.com