Jake Hollenbeck

I enjoy aesthetic exploration and unique thought. This site provides an elucidating and invigorating gulp of art, design, literature, video, and photography for thirsty minds.

[hollenbeck-blog]

We are fools whether we dance or not, so we might as well dance.

Japanese Proverb

[hollenbeck-blog]

The religion of minimalism.

I am not a Christian. I am not religious. But I am absolutely impressed by the modernist-inspired Church of Saint Francis De Sales in Muskegon.

"It's cold and cruel. It looks like a prison," my peers say. I could not disagree more. Their perspectives revolve around traditional and situational preconceptions of what religion should look like. They feel out of place in this building that breaks every convention in every way, as most modernist design of the 60's did. There is no ornamentation; no emotion to latch onto and ride halfheartedly into God's grace. There is only the blank canvas of the concrete, and the whole and unequivocal sense that one is both imposing upon and merging with the architecture. 

I am at once the embellishment, and the focal point.

I am nothing. I am everything.

This lack of tradition and routine comforts puts the person standing in this sanctuary at the mercy of God's judgement and power. This raw connection humbles and shrinks our perceptions and our sense of self, causing the unease many of my colleagues feel. Every element of this church is specifically designed for this purpose.

The exterior of the building is plain an unadorned. Its blocky stone and sloping walls appear at once a symbol for passage, movement, and time as well as an example of God's power.

Inside the sept, angles and curves distort the lighting and darken the atmosphere. The cold stone feels tight all around, and the faceless figures appear inhumanely religious. The ceiling blocks the light and stifles the sound, putting the guest in a state of vulnerability.

Until they step into the sanctuary, and this vulnerability is replaced with awe. As I proceed down the aisle under a freestanding balcony, the massive back wall soars upward toward the sky and the only source of light- windows that shine magnificently as if God himself illuminates them. This massive towering wall brings the crucifix and the alter perceivably closer to me, and a massive 8-ton slab of granite hangs freely overhead, symbolizing the hand of God himself.

Behind the alter, twelve concrete columns representing the apostles support the heavy roof. I watch them sway and shift as I walk from one side of the balcony to the other, representing the powerful yet flexible aspect of the faith, through the gradual passage of time. Everywhere, the influence of traditional gothic cathedral building can be found in the construction.

The church is strong. Not only will it stand the test of time, but it supports the faith of men and connects them spiritually with God, through design. As I stand in the center, gazing at the pillars and skylights and many tons of hard concrete, I feel blissfully simple. My existence becomes as minimal as the church itself, and my connection to my own faith becomes as absolute and firm as the ground upon which I stand.

I am not a Christian, but I have found peace here.

[hollenbeck-blog]

Response to McDonough's "Top Ten" Article

Michael McDonough appears to be a well-educated and well-spoken fellow, albeit a bit harsh. His top ten article makes sense taking into account that I am a student, and he a seasoned professional. The validity of his points lacks consistency, but overall his writing delivers a sound and optimistic message.

Why then do I feel so critical of him?

The article is written, quite obviously, for younger people planning to join the industry of design. Any other audience renders the message useless. The problem arises considering that my experiences and skill sets are wide and varied enough, and my knowledge of the industry deep enough, to formulate opinions of my own. I condescend upon much of McDonough's advice because he states things that I know, in words harsh enough to clearly communicate to younger and less knowledgable students.

I am not his target audience. I am a budding professional with a lifetime of experience and years of design school behind me, and I have justifiable opinions of my own.  Many of them coincide with McDonough, but overall I feel the article is a strict expression of a slightly ego-centric personality who writes to satisfy his own needs as much as those of his specific and counter-intuitive audience.

[hollenbeck-blog]

Sometimes you have to do the thing that doesn't make any sense to anybody. That is the solution.

Emily Grace Watz

[hollenbeck-blog]

Grip and Gibson

It wasn't Patrick Robinson's eclectic wardrobe that surprised me the most. It wasn't his "kick-your-ass-into-motion" brand of motivation, or his employment within one of the largest firms in Toronto. Patrick surprised me the most by quoting an author: William Gibson.

The quote was masterfully thought out (as all of Gibson's writing generally is, to a degree), but it wasn't this facet that astounded me. On the contrary, it was the idea that inspiration, progress, and creative energy can stem from sources behind the books and magazines so widely pushed down the collective throat of designers populating this industry. Seeing a personal interest of mine bear fruit for the mind of an exceptionally successful man reinforced the idea that I am more than my career. Rather, I am a multi-faceted individual capable of thinking and experiencing life in a multitude of ways and from many paradigms.

In short, I connected with Patrick through our common love of abstract literature. His presentation only strengthened his character- character that I can respect and admire.

[hollenbeck-blog]

Junior Year Review

I have attempted this post three times now and I can't seem to break away from writing some mindless cliche drabble about rewards and challenges, so instead I think I'm just going to list off what I've learned this year. I will include the big things, the small things, and the quirky things, just to keep it authentic.

So - to begin - my junior year in the graphic design program and the communication design classes has taught me:

A design at its core is an idea. Visual appeal is important, but ideas win top prize.

Designers are educators, innovators, engineers, artists, politicians, and leaders.

Even the best idea can fail if nobody stands strong behind it.

Sometimes a weak concept can be sold simply by talking it up.

Process is necessary for the benefit of everyone, and it certainly cannot be rushed.

Time is a valuable resource and MUST be managed well to be a successful designer.

Sleep is absolutely necessary in order to be creative.

Typography can make or break a project. It MUST be considered fully.

Folios can be beautiful additions to a page.

Conceptual freedom can be an extremely scary prospect.

Detailed art-direction can bring out the best in a project.

Design inspires change.

Sometimes life is better unscripted.

I'm a terrible baker.

A single folded page holds infinite creative possibilities.

Paper stock adds another dimension to the perception of a printed piece.

Social media can be a powerful job-seeking and networking tool.

A logo is not a brand, but it can be the face of a brand.

Thumbnails matter.

Believing in my ideas helps them grow.

Sometimes stepping away from the computer is the best decision.

Tape things to the wall, and look at them often.

Do not let a project become depressing.

Design is not life, it is only one facet of life.

The design community is a rewarding and valuable entity to be a part of.

Talk about design, and it becomes completely enjoyable.

Don't let Facebook become a distraction.

Strong ideas lead to strong visuals, and tend to grow on their own.

Print two copies. Chances are one will get folded wrong.

Books can be powerful interactive experiences, but should be designed completely.

Carry a sketchbook and let it become a spiritual companion.

Some of the greatest inspiration can be found in the tiniest things.

Think strong and live well. Don't give in to doubt.

I am a powerfully creative individual.

I am growing, learning, and improving every day that I immerse myself in design.

I will continue to grow and I WILL become a designer.

I've exhausted my current list of things learned, even though I'm sure there are thousands more. These classes were a rewarding experience and one that helped me transform from a student interested in getting a design degree to a desginer interested in seeing where this industry will take me. I will remember the experience for a lifetime. Thank you William Culpepper for giving me this. You will be sorely missed.

[hollenbeck-blog]

Typeradio Topic Number 13: Julia Kahl

Graphic design is a visual medium. It channels our messages toward a viewer and pins to them any variety of emotional qualities and undertones. It is a powerful communicative tool. 

However it could be argued that it is not the strongest method. The discipline of writing, and its various forms and nuances, sacrifices visual qualities for literal symbolic meaning. When coupled with graphics, a project's ability to connect with a reader increases tenfold. Often, written words are required to adequately describe the nature of a concept. Imagine a breaking news story. The photograph set large on the page instantly captures a reader's attention. It communicates gravity, scope, and subject matter instantly (and in fine form, if the photographer is skilled!), but often the message ends quickly as the viewer finishes scanning the photograph. Writing gives body and form to the author's message. It provides a filling banquet of information beyond what any image can communicate, and it does so with relatively no chance of misinterperetation.

Julia Kahl - a designer interviewed by Donald and Lysa on Typeradio.org - recognizes and combines these two creative avenues to create stunningly unique and informative bodies of work. As a designer, she has the aesthetic sense that allows for beautiful composition and heightened visual interest. As a writer and interviewer, she claims mastery over the ability to research and describe deep and powerful conceptual matter. She is neither an artist or a journalist; designer or author. She merges these two skills.

In doing so, Kahl proves the importance of good writing skills to any designer. Writing can profoundly impact a project's tone, for good or bad. Subtle differences in an author's chosen words create vast differences for the reader. Gritty, raw, in-your-face paragraphs full of swearing and harsh descriptions may be perfect for a counter-culture magazine but not so much for a resume, which would be better equipped with friendly, professional, and neat text. Satire and comedy can equate to laughter and high regard within a body of college students, but does nothing for a poetic and sing-song childrens' book. Whatever the purpose of the design, the writing can and should match it.

Failure in this task can even have dire consequences. There is a huge difference between the phrases "Lets eat, Grandma!" and "Lets eat Grandma!", and everyone can remember signage with misplaced apostrophes, and the impression they leave upon us. A restaurant sporting an advertisement that reads "Try our burger's and shake's" labels itself as foolish and ignorant, despite the intentions of the manager. Mistakes like these can prove fatal for young brands, whose sole intent is to impress themselves upon others.

Often, errors in writing may even lead to anger and dissatisfaction. Finding a typo in an expensive textbook or publication leads readers to believe they've gotten a raw deal. Annual reports rife with mistakes communicates nonchalance and snobbery to their shareholders, who expect perfection in these documents. A single spelling error can cost a young, talented graduate a job if found on a resume.

To conclude, writing is essential to most design. Julia Kahl would certainly agree that its communicative prowess and subtle tonality cannot be overlooked, and may very well influence the opinion of a reader. Good writing helps foster good typography, layout, concept, and communication. It's relationship to the design industry is without question, and should be a tool in the arsenal of every level of designer, worldwide.

[hollenbeck-blog]

These are from Slanted Magazine's current issue #17 about comics and comic strips. Excellent illustration on every page.

[hollenbeck-blog]

Typeradio Topic Number 12: David Crow

Perhaps it is his Western European lineage. Perhaps it is his ability to talk, write, and communicate effectively. It may be the breadth and depth of his interest in the graphic design industry. Whatever the reason, Typeradio.org's interview with David Crow struck my fancy more so than many of my recent posts.

Crow's experience within the design community extends far beyond creating pretty pictures. His mastery extends into teaching, managing, and writing as well. But it was not these aspects of his life that intrigued me. Rather, his reason for evolving his career provided much keener insight and helped me identify with the man behind the designer.

Crow makes the case that sometimes politics can interfere with our personal goals as a designer. As students we are given free reign to discover and create outlandish work. This type of work often fosters growth for the student. But as we age and our lives meander into metaphorical pastures unfathomable from where we stand now, so too do our goals and our outlooks change to. We see the darker side of the design industry - its role as a cog in a machine of mass-consumption that we as human beings neither believe in nor wish to support. David makes the point that a young, idealistic ego may not cope well with this fact.

And yet it puts bread on the table. So it forces acceptance upon us. Pushing forward, we break through this barrier and see that we have come out somewhere far removed from where we started; somewhere we believe in being. For David this was the transition from Design to education. For me, and for many growing designers, there is no telling where we might turn up. We struggle with the change to a point that it almost seems odd considering ourselves a part of a new community. But as days and weeks pass our fragile existence becomes more solid and more a part of our lives that we achieve a new level of satisfaction.

I personally feel that I am at the edge of one of these transitions. My experiences, hopes, and desires are culminating into something I feel will become the next years of my life. I am unsure of where this change is going to lead me, but I can understand and identify with Crow when he speaks to this idea. Change will happen whether we want it to or not. But keeping in mind where we come from and thinking about where we want to go helps make it seem much less a monster and much more an opportunity.

[hollenbeck-blog]

In regard to my last post: House Industries are awesome. They fully expect cold cash for their efforts, and justly so. The products they create and sell are deliciously tangible representations of excellent graphic design.

[hollenbeck-blog]

Typeradio Topic Number 10: House Industries

As much as I enjoy House Industries, and as much as I enjoy picking the philosophy out of and making connections to those being interviewed, these clips felt like a waste of my time. Not only did the House designers express displeasure at the nature of the questions asked of them (I agree with their opinion) but they also narrowly avoided turning the interview into a pot of useless dribble.

In their defense, the speakers for Typeradio.org could easily be pressed to actually create engaging experiences that require an intellectual presence, for once. Instead of asking questions such as:  "Do you collect porn?", "Do you have a driver's license?" and my personal favorite: "Do you use drugs?" I find myself wanting answers pertaining to the design, philosophy, interests and incidences surrounding a professional organization I hold in high regard. Donald and Lisa have let me down.

Despite this, House did manage to touch on one point that struck my muse: the perceived role of graphic designers. As House Industries eloquently puts it, "Our parents have no fuckin' idea what we do." Normally I would take this opportunity to admonish the potential for design in the world and all that it may achieve, but if the previous two paragraphs weren't enough of a clue- I'm feeling kind of pessimistic.

I am motivated after attending tours amongst very talented Grand Rapids design firms VisualHero and Conduit Studios, and I am more than a bit jealous of the ease and confidence with which they carry themselves. These are designers who know precisely how and where they fit into the creative community. And yet many of my acquaintances still fail to understand what a design firm does, and what our industry is capable of.

I become offended when people who are close to me tell me that my job is to make them money, or churn out "pretty pictures" without even offering up the 2 calories it takes to do a google search about design. I am sick of being offered 200 dollars for a lithographic-quality design project (including the cost of printing!) by clients who expect 300 pieces, and who assume I am doing wrong by recommending the Ferris State Copy Center. Even my own parents can't be bothered to understand why this industry is so important.

Yet all my negative impressions push me to become a stronger designer. They make me want to stand up for my work, my ideas, and my craft as any professional stands by their creation. No, I will not print your t-shirts for fifty bucks. No, you can piss out your own logo for your own FAIL-lane RSO. I will not accept these offers; I will not become that designer. I take pride in the fact that I am a creative individual. I refuse to idly accept this blatant insult to my talent and the ignorance of my industry.

[hollenbeck-blog]

MEAT

Meet MEAT, the spunky group of Italian designers boasting an interview with Donald and Lisa on Typeradio.org. They enjoy illegally tagging buildings with graffiti art, devising names for design collectives based on their favorite foods, and doing graphic design. As mediocre as their work and interview were, they brought up an interesting concept I deemed worthy of investigating: The idea of immortalization of the self through the process of creation.

Graffiti is often misunderstood by the general populace, and I'm not just blowing steam here. I know a few talented (if misguided) graffiti artists whose work would be welcome on the back of a skateboard or the cover of a punk magazine, but who instead often find themselves on the receiving end of mobs of torch-wielding, pitchfork-brandishing do-gooders who, interestingly enough, don't like paint all over the front of their establishments.

Interestingly, the punishment ever only works to spur on these would-be deviants toward their next case of minor street crime. The fact of the matter is that graffiti provides what society does not: memory. One can easily become forgotten in the ebb and flow of societies grandoise machinations, often becoming little more a 9-digit number in a computer database. The act of creating art in relatively permanent places and in the faces of everyone who wanders past immortalizes the artist's spirit, aesthetic, and creative soul, rather than their purchase history or bank summary.

But why do this illegally? Why not simply become a poet, or a painter, or film director? The answer to this question is less concrete, and may even vary according to whichever artist is considered. Some may tag as a means of venting stress- taking frustrations out on a wall is much more productive than doing so on a human being. Some like the rush and excitement of knowingly doing something that they've been told is wrong or incorrect, and this helps them interact on a deep level with their own humanity. Some simply enjoy the fierce competitiveness of the art form, and take pride in creating the most profound art. The common thread, however, is sending a message. When society pushes against someone who values their free will and zealous creativity, this person pushes back. Graffiti is a mirror through which the artist and the institution may interface on equal ground. 

This is one thing that design cannot consider itself capable of. Design communicates messages to vast audiences at the behest of an (often third-party) entity.  Clients pay good money to those who can do this well. On the other hand, graffiti communicates directly one particular entity (most often society at large) with a voice that neither acknowledges nor values the opinion of anyone other than the designer. 

Ironically, the same concepts that make graphic design such a potent medium for sending messages also make graffiti art a sharp communication tool as well. Consideration of type, color, composition, and many other elements besides link the two forms of expression. 

MEAT acknowledges this as well. they are masters of communication at every level, whether they are being paid for their efforts or punished for them. Their creative minds inspire action in others, be it purchasing an expensive truffle soufflé or an industrial-strength scrub brush- and that is something I can admire them for.

[carigraphicart]

[hollenbeck-blog]

carigraphicart:

Cigarettes shrinks dicks - By David Carson

Listening to Typeradio.org's interview with David Carson truly stirred me to action. If, of course, that action involves surfing, listening to a constant river of exciting music, letting my children freely paint and and draw on my bathroom walls, and unintentionally deconstructing every known and cherished rule of typography and design.

Carson might very well be considered the Ghandi of deconstructionism. His work flows freely from a zen-like place deeply rooted within his personality. The images come intuitively and the results are as much art as design. Carson's letterforms flow loose and free as the water under his surfboard. He designs freedom. He cherishes freedom. Carson's work is the height of graphic design freedom.

And yet in many cases this style is frowned upon. A veritable army of budding designers consider his post-modern ideals as important as the word of God. They gladly deviate from the standards of the industry to inject attitude and rebellion into the designs they create, but in doing so become labeled and stereotyped as punks, hippies, copycats,  and non-conformists. At what point do these well-intending young minds fall off the bandwagon?

My answer: at the most basic level. Whether or not the work of these designers successfully emulates Carson's genius is a moot point, as is the argument over the necessity or effectiveness of post-modern influenced graphic design. The more appropriate question that should be asked is: who is this work intended for, and does the work successfully communicate literally and emotionally to this audience? In the case of the others, this usually is not the case. Personal ideals, experiences, and thoughts about society cloud the design and soften the beautifully unstructured effects postmodern design can achieve.

Carson, however, is somewhat of a phenomenon. With no formal training and little practice, Carson sought to use his creative talents in a way that would simply make him money. He did not strut and dance for big-name clients and projects whereupon to practice his postmodern ideals. Quite the opposite- Carson sought work that aligned well to his morals, personality, and experiences which allowed him to thoroughly explore deconstructive design as an effective avenue for expression. His problem governed the solution. The design of his lifestyle governed its style. In doing so, Carson successfully achieved what every designer sets out to do: communicate successfully and intuitively to those on the other side of the page.

Carson's confidence and concept of the self drove every action that led to his success as a postmodern designer. To emulate his design blindly is hypocrisy. Carson embodies freedom. His design is merely a beautiful byproduct of his actualization of self.

[hollenbeck-blog]

People think that design is styling. Design is not about styling. It's not about giving shape to the shell and not giving a damn about the guts. Good design is a renaissance attitude that combines technology, cognitive science, human need, and beauty to produce something that the world didn't know it was missing.

Paola Antonelli

[hollenbeck-blog]

This post will be quite speculative. It will be a collection of my thoughts recorded digitally about a topic that makes me sore and sour.

I've been listening to AdBusters on Typeradio.org, and have come to the conclusion that many of their ideologies run parallel to my own. Furthermore, Many of the recent events regarding consumerism and corporate power in America can be seen mirrored in the pages of the magazine they produce, as well as the creed they preach. Our collective existence as a human species on this planet should not - cannot - be governed by powers based upon profit and immensity. Giving in to forces as dangerous as these welcomes the disaster of complacency and ignorance. Our individual ideologies, our morals, and our free-will become a indistinguishable cog in a machine who's sole purpose is corporate immortality, albeit how morally high the cost.

Now I'm not saying every corporation is a giant demon intent on consuming our souls. In truth, corporations give back to society in equal share. They provide us with jobs; they allow us to aquire products and services many countries longingly do without. But it is not the physical dangers that threaten society the most, but the intangible ones: the theft of free will and intellectual opportunity. Our voice as individuals, as a group of hopeful outspoken, and as unique beings is the prize to be defended. The opinionated folks at AdBusters even agree- they refute the stereotype that they employ all "vegan militants" but instead welcome any voice, personality, or idea- as long as it is well grounded, supported, and intelligent.

Intelligence and sentience is truly what defines the AdBusters' subvertising, and any anti-consumerist ideology in general. Just look at the Occupy Wall Street campaign that rages across our country. Folks with fearful interpretations of our economic situation refuse to bow under the massive fist of corporate America. They let their voices be heard, and lobby for change. They meet resistance and friction, but view these as challenges to be overcome. They are visionaries, as are we all. Our individual voice; our concept of the self, is the object to be treasured. It is the one thing that Corporations should not, and cannot, take from us.

I'm going to post a well-written quote from a sci-fi novel I recently finished as well. It really started to make me think.

[hollenbeck-blog]

Power, in Case's world, meant corporate power. The Zaibatsus, the multinationals that shaped the course of human history, had transcended old barriers. Viewed as organisms, they had attained a kind of immortality. You couldn't kill a Zaibatsu; there were always others waiting to step up the ladder, assume the vacated position, access the vast banks of corporate memory. The real bosses, the king-pins in a given industry, would be both more and less than people- a gradual and willing accommodation of the machine.

Excerpt from William Gibson's "Neuromancer"

[hollenbeck-blog]

Designing a Relationship

Good design brings people together. It incites change and fosters communication. It can also make love connections, as the designer-couple Pixelgarten will inform you on Typeradio.org. They aren't the only ones. Rob Carter & Sandy Wheeler, DesignArmy... the list goes on.  What is it about visual communication that fosters lifelong partnerships? And how does continued exposure to design influence a couple's ideals?

As Pixelgarten describes, the design process can be an extremely obnoxious task for a couple to manage, especially one with a talent differential as great as theirs. The task of mixing the correct amounts of fine art and design principle, coupled with the loss of social filters relationships provide, can lead to conflict and argument. 

This battle can be the defining point in a relationship. While other couples argue over house-work, money, or politics, design couples argue about color, typography, and stroke width. The difference is that in more cases than not, this acts as a catalyst for good design. The questions single designers challenge themselves with become doubly effective when the designer is an entity composed of two devoted minds.  

In addition, as Pixelgarten describes, this process of challenging each other's ideas becomes the fulcrum of aggression within the relationship.  When the day is done and the negative emotion has been converted into positive change in design, there is little left but the love and mutual interests a couple shares. Design works as a punching bag and relationship counselor.

So what happens to couples who don't marry within the design community? Sure, things become more traditional, but design is a very inviting profession, and a fresh and distant view can often provide valuable insight for a designer as well. Not to mention, seperate careers means seperate interests and discussion points. I have personally loved describing the nuances of my hatred for comic sans over dinner, while my girlfriend counters with the finite workings of my circulatory system. 

Not to mention, my pride bubbles full when she points out the immaturity of her professor's power point slides set in comic sans.