Evidence

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|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|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?

Sean Adams|Evidence

Marget Larsen

Marget Larsen’s design work bridged post-war American modernism and 1960s hedonist psychedelia.

Sean Adams|Evidence

Will Burtin

Will Burtin was a graphic designer with no sense or boundaries in media.

Sean Adams|Evidence

Hey

Sean Adams extolls the virtues of a narrative told with minimal means and a strong ideas.

Sean Adams|Evidence

Return of the Standards Manuals or Revenge of the Rigid

These are not systems to be messed with.

Sean Adams|Evidence

Hope is The Thing with Feathers

A closer look at NBC’s peacock.

Sean Adams|Evidence

When the World Was Young

When I started in the profession, I was the youngest such and such for a long time. Somewhere along the line as the generation before me retired or moved on to greener pastures, I became the old guard. This happens to all of us, which …