Sean Adams

Sean Adams|Evidence

Admiration for the Bland Subject (and Beautiful Design)

When presented with dull content, Sean Adams recommends designers “reframe, augment, or interpret the content and redesign.”

Sean Adams|Essays

Remembering Clive Piercy

Without Clive the world will be a little less colorful.

Sean Adams|Evidence

Mixing Metaphors

This conceptual approach of the “fused metaphor” combines symbol “A” with symbol “B” to produce a new result.

Sean Adams|Essays

Margo Chase

The design profession and all of us lost a treasure last weekend when Margo Chase died.

Sean Adams|Evidence

Joe Orton: Dangerous Collage

Is it graphic design?

Sean Adams|Evidence

Manifesto of Surrealism: 3 Tragedies

We pass through our days creating fictions to make sense of the world.

Sean Adams|Evidence

John Astrop and Eric Hill, Booze, 1967

Historic design work, linked to the cultural standards of its time, is often unacceptable now. Does that make it bad? Should the creator be vilified? Should the offending design work be eliminated from a classroom or book?

Sean Adams|Books

Subjective + Emotional

Color is subjective and emotional.

Sean Adams|Evidence

Mary Blair: The Grand Canyon Concourse Mural

Mary Blair’s Grand Canyon Concourse mural in the Contemporary Resort at Walt Disney World is a super-graphic that transforms the architecture.

Sean Adams|Evidence

Phyllis Tanner

“It is a cut-throat business. Be good at negotiating. It is not just about ART.”

Sean Adams|Slideshows

Pan Am: History, Design, & Identity

Matthias Huhne tells the story of the world’s largest airline for much of the 20th century with images, printed artifacts, and the Pan Am identity.

Sean Adams|Evidence

Jennifer Morla: El Museo Mexicano, 1995

As a designer, does the work we create subjugate and presume superiority over another culture, or does it attempt to authentically represent it?