I have been touched by the number of graphic designers, many I know and a lot I don’t, who have helped me with a very special personal project. But I still need help and I hope you will read this and chip in, no matter how small. Grab a coffee and read on.
Dear Graphic friends
This is very unusual for me so, I apologise in advance.
In 2001, I wrote an article about a graphic designer called Keith Cunningham. Link here, should you wish to read it.
He died in 2014 and spent a large part of his life teaching at the London College of Printing. Michael Peters, Dave King, John Hegarty, Fernando Gutiérrez and many others passed through his hands.
But he had an alternative life as a painter. He worked alongside his contemporaries and friends, Joe Tilson, Frank Auerbach and Leon Kossoff as a student at the RCA in the early 1950’s. He received a First and a travelling scholarship.
During his RCA period, he exhibited at the Royal Academy’s Summer Exhibition, the Beaux Arts Gallery and, for two consecutive years, the prestigious London Group show; this culminated in Cunningham being asked to submit work for full membership to the group – he declined.
He then made the extraordinary decision to withdraw completely from any further public exhibition of his paintings. He continued to paint until 1960 and then locked away some 200 paintings in a warehouse where they remained unseen for 50 years.
Why am I telling you all this?
Well, Cunningham’s wife Bobby Hillson (she ran the MA fashion course at St Martins shepherding John Galliano, Rifat Özbek and Alexander McQueen to success) now 89 she wants to exhibit a selection of Keith’s paintings.
She made contact with me, and to cut a long story short, I am donating my time and supporting her in helping to make things happen.
Unlike many of their talented students, they never earned very much but always privately celebrated in the success of their students. But staging this show is eating into Bobby’s meagre savings but she is determined to do it because she believed in Keith.
It occurred to me that many of us in the design world owe a debt to those who have encouraged, guided and inspired us. As it happens, I never went to art school But, I was very affected by this book cover designed by Keith Cunningham..
I first saw it in 1963 at my local library. I stole it. (Keep that to yourself).
Sometimes it just takes a little thing to make a big change, the cover did it for me. But I feel sure that many of you did attend art school and maybe never said thank you to those unsung heroes, the tutors.
I have always tried to view everything as a creative opportunity, and if you have read this far, I’m now going to get to the point. Would you consider donating £50 or £100 to help with the considerable expense of this show?
See it as a thank you to those who helped you along the way, but you didn’t get the chance to thank. You will be invited to the private view and have your name printed in the catalogue. Not a lot I know but you will make an 89-year-old very proud.
So, if you are in mood please contact me as soon as possible and I will explain where you can send your contribution, no matter how small.
And if you got all the way to the end thank you.
This is a number 38 London bus. I have been using it for the past 40 years. I call it 'the magic bus' because it is plentiful and local.
Often if I am stuck for an idea I'll leave the studio and go for a walk or jump on a 38. I love people watching and buses are great for that especially on the top deck. I jump on and off whenever it takes my fancy. I believe that everything is a creative opportunity and this morning I spotted two teenage Japanese girls looking like a living artwork. I had to snap them. From the back...
and the front...
In the middle of photographing (it took place at the top end of Museum Street), a woman appeared and said, "You can't photograph here". I replied, "But this is a public place, why can't I photograph?". She then said, "I can't tell you that", and disappeared into the building with me shouting after her, "What are you, MI5 or something?". London can be a crazy place sometimes.
I thanked the two girls and in true Japanese fashion they both bowed gracefully and we said our goodbyes. I love the Japanese.
They say that travel broadens the mind. It also feeds the imagination, delights the eye and, in my case, blew my mind.
For a graphic designer, the Japanese flag is probably a perfect example of a stripped-back, minimal symbol that expresses an idea perfectly.
I have recently returned from my first visit to Japan taking in Tokyo, Osaka and Kyoto. I have travelled to many places, but Japan completely overwhelmed me in so many ways.
First off, it was the people. The British are renowned for their courtesy, but the Japanese far surpass that. They are the most well-mannered, gracious and law-abiding race I have ever encountered. I was amazed and very moved by it. There is a natural modesty in their behaviour that is utterly endearing.
And they take enormous pride in whatever they do. They live by a set of rules that are centred on thinking of others around them.
Now this is going to sound like a promotional commercial for Japan, but it is exactly how I experienced it.
Me along with my daughter-in-law on one of the immaculate trains.
The trains, buses and taxis are immaculate. There is no tipping. Everything is punctual. People queue in line, and no one seems to shout.
Not a soul on the crossing.
No one eats on public transport. No one crosses the road unless the light is green.
If you have a cold in Japan, you wear a mask to avoid spreading it to others – so considerate. Can you imagine people doing that in the UK?
While staying with my daughter-in-law’s family, we visited a local ‘onsen’: this is a natural hot spring bathhouse. There is an amazing washing ritual before taking the hot spring.
It involves sitting in a little stall, scrubbing copiously and ladling masses of water to rinse off. During the process, various soaps and shampoos are topped up by female attendants – a little disconcerting for a European.
The lavatories in Japan are fantastic. Most WCs are electronically controlled to include a heated seat that lifts and closes automatically on entry. When you are finished, various jets of water spring forth strategically aimed, and all is topped off with a warm air dryer. A delightful hands-free experience.
Before entering a house or restaurant, you remove your shoes. Here in the UK, we can step in spit, mud, vomit and dog droppings and after tersely wiping on a door mat or not, we trail it around the house. Japanese visitors to this country must be revolted. And when you go to the loo in a Japanese house, you wear shoes specifically for that purpose.
Wherever you shop, service always starts and finishes with a bow, along with much smiling and thanking. It is so wonderful and always seemed genuine to me.
There is far more uniform wearing in Japan, and these are worn with great pride and are always immaculate.
Penny loafers abound.
School girls have a strict uniform code consisting of white sailor tops and navy skirts or tartan kilts with white shirts and navy socks, and all seem to wear American-style penny loafers – the latter being, I guess, the influence of the US occupation during 1945 to 1952, along with their baseball, golf, Coca-Cola, and workwear.
Ready for work in orderly fashion.
Office workers wear a crisp, white shirt and a two-piece black suit for women and navy or dark grey suits, a white shirt and a tie for men, and always with a briefcase.
Me in Tokyo
There is an overwhelming use of neon and animated digital advertising on poster sites in cities looking like scenes from Blade Runner. Sound too is widely used: jingles, cutesy melodies, speech and bird songs assault the ears on the underground, on the streets and in the shops.
And the Japanese love little cartoon characters: they pop up everywhere in a very kitsch, child-like way that is very alien to what we have in the UK.
The crime rate is relatively low in Japan: guns are illegal and the much-coveted ceremonial swords have to be registered with the police. Capital punishment is still carried out in Japan. You can leave your mobile or laptop on the table while getting a coffee and it will still be there when you get back – do that in London and it would all be gone in seconds. And there are also baskets placed beside tables to put your bag in to keep them clean. Traffic and pedestrian police are a pleasure to watch, using a kind of illuminated rod in a series of graceful moves to conduct people and traffic.
Making in Japan is a craft tradition, and there is much evidence that it is still supreme. Their pottery, fashion, furniture, lighting, flower arrangement and gift wrapping are all stunning.
I had the great pleasure of visiting many of the traditional temple gardens in Kyoto, and they are breathtakingly beautiful.
In a Japanese garden, everything has a meaning and is painstakingly put together to echo nature.
Bamboo is used for fences, gates and building materials, making everything in harmony with its surroundings.
My granddaughter looks out.
Traditional tea houses are often to be found in the gardens, where you sit on the floor, take tea and look out onto the tranquil surroundings. You can clearly see where the inspiration for modernist architecture came from. Japanese buildings are all about simple function, beautifully formed.
Beauty in everything.
Being a vegetarian, it was a little tricky for me, but the presentation of Japanese food makes the European nouvelle cuisine chefs, with their concocted presentations, look frankly pathetic. Food presentation in Japan really is an art form. Restaurants tend to be on the upper floors in city centres rather than at street level, where rents are far higher. Generally, they tend to be small and intimate. With space being a premium, the Japanese are experts in making the maximum out of the minimum.
Rubbing shoulders with traditional Japan is a young, energetic creative community designing and making products, graphics, furniture and fashion items that fit harmoniously into all that has gone before, retaining that special Japanese aesthetic.
The Japanese still don’t allow immigration, and I can only assume that is why their customs and culture are so intact and not diluted by other cultures. With 126 million people packed in this group of islands, this is understandable.
However, Japan has an ageing population that is gradually outnumbering the younger population, and this will create an issue in the future with the increasing budget for caring for the elderly, so immigration may need to happen to maintain the workforce required to generate income.
Was there a downside in all of this? Well, just two odd things: they still allow smoking in restaurants, which was a bit of a shock. And bicycles aren’t allowed on the main roads in cities, so they ride on the pavement, weaving in and out of pedestrians, so you have to be mindful of that.
On my last evening in Osaka at my daughter in law's home, her mother gave me the full tea ceremony. It was so special.
Arriving back in the UK and sitting on the Piccadilly line, I was instantly depressed by the spectacle of a messy carriage, with people speaking too loudly on their mobiles with others stuffing food into their mouths. Such a depressing contrast from the behaviour of the Japanese.
Japan’s impact on me had a profound effect, and I will definitely be returning. I sincerely hope that the Japanese retain their unique, delightful character, and all I can say is that if a set of rules can make such a gracious race, let’s introduce some rules here.
Visual post script
Some additional memories...
above and below, loo heaven.
I hope that this has given you just a little taste of the magic that is Japan.
In this latest letter for Kyoorius magazine in India, Michael Wolff’s view on embracing distraction perfectly syncs with my own.
Taking an opposing path can lead to chance encounters that can be both surprising and rewarding. Those of us lucky enough to inhabit the creative world have the ability of honing our antennae to take us on unexpected journeys.
Rainwater pipes in St Petersburg.
My apologies. This will be a disjointed letter because my mind’s disjointed by travelling and by being in too many time zones in too short a time.
Travelling’s always a discombobulating experience for me because the noticing part of my brain works more actively, when I’m in less familiar cities than London, where I live. I notice thousands more distinctive details when I’m in new places. For instance, rainwater pipes in St Petersburg are twice the size they are in London, and almost anywhere else I’ve been.
The traffic lights in Moscow, where I’ve been for the last few days, are much bigger and more intense than the traffic lights in London. They’re still, unlike ours, in proper bright red, yellow and green.
The rainwater pipes are huge in St Petersburg because of the dangerous amount of melting snow and the traffic lights are huge in Moscow to make sure people see them clearly through the blur of snow and rain. Their colour is so intense because they’ve not been weakened by energy efficient lamp bulbs, as have ours in London, and also because their compelling and unusual size demands attention. They sparkle throughout Moscow as the smaller brilliant red, yellow and green lights did in London when they first struck me, as a child, with their brightness and beauty. I still find those simple bright colours, made from light, wonderful. I’m always tantalised by the difference in the intensity of colour between light and pigment, and think of them as two of the wonders of the world.
I’m writing this letter to you with a sense of urgency on an Aeroflot plane flying from Moscow back home. As I write, I’m reflecting on how strange it is that, although I don’t know you personally, I write to you as my friends, and even if my letters may be more important to me than they are to you, I still enjoy writing and sharing thoughts with you more than you realise.
I stopped writing this letter for the couple of days that it took me to acclimatise to London and then I had to return to the airport early the next morning for a trans Atlantic flight, over a sparkling ocean and a gleaming snowy white Greenland, to the USA.
Now, after a day in New York and a dinner in a restaurant that I’ll never forget – Ilily (236 Fifth Avenue), I’m in Kansas City with some of my best friends and some tranquil time to continue and complete writing this letter to you. I wonder where you are now and how things are looking and feeling to you if you’re reading this letter from me.
In one of my first letters to you I wrote about the value of distractions, of being open to disjointed impressions and how essential these are to creativity. Many of us can get into the habit of believing that solving creative problems means bringing your minds to bear on them with discipline, thoughtful concentration and single-mindedness – a kind of myopic focus. I’ve never found this to be true. For me discipline, thoughtful concentration and myopic focus usually shut down my creativity and drives it straight into the cul-de-sac of reasonableness and logic.
I remember an attorney (drawn by an old friend of mine, the great New Yorker cartoonist Al Ross) stabbing the air with his finger, saying to the judge and the courtroom “Logic, the last refuge of a scoundrel.”
Hmmmm, logic certainly has its place and so do intense concentration, undistracted focus and attention to detail, but only after your creativity has worked its magic. That magic, in my experience, requires unlimited distractions to provoke your curiosity, your appreciation and your imagination, in whichever sequence they occur to you.
I was called scatter-brained at school. Teachers then believed being scatter-brained was a bad thing; anti-curricular and anti-discipline; and I thank my lucky stars that I’m still resolutely scatter-brained today.
Being scatter-brained has served me well and so I recommend it to all creative people. For most of my professional life my openness and welcome to distractions would irritate, frustrate and even madden some of my colleagues.
Sometimes they couldn’t see where my mind was going or even where to find me. Many, though not all of them, considered that reliability, and what they thought of as responsibility, towered above creative breakthrough.
To them, steady and predictable performance was the essence of professionalism and sound business. They believed that I was creating uncontrollable disruption and organisational anarchy. They saw me as a dangerously bad example to others. Although many of them respected the work born from this behaviour; work that reached for the sky, the lure of logic, good sense, reason and the value of what they already knew, kept them off the tight rope which those of us who are driven by vision and the potential of creativity, have to walk.
Of course I can see how I looked to some of my former colleagues and how disruptive and disturbing it was for them. But I see those design firms, driven by business discipline and process being inhibited and their creativity diminished. So today, although I collaborate with many designers, I rarely work with those for whom money and process rule. Those of us who remember the magic of walking that creative tight rope now want to see business and process lose their dulling grip on what’s called the branding business and let freewheeling and exhilarating creativity flourish again. Process needs to stand in the corner in disgrace for a few years.
People like Elliot Noyes, Raymond Loewy, Bill Bernbach, Mary Wells, Paul Rand, Alan Fletcher, Massimo and Leila Vignelli, Terence Conran and Thomas Heatherwick to name a few of many, never bowed to process. They all ensured that creativity led the way in their enterprises and in what they brought to their clients.
“Nothing is achieved by a reasonable man”
said George Bernard Shaw; even in science, one of our most creative quests, many scientists still explain their wondrous discoveries to us not as accidents of brilliance and inspiration, which they often are, but of feats of reason alone. It was beautiful to hear Sir Martin Rees, a past president of the Royal Society in the UK, say “We will never understand everything.” What breath-taking arrogance to believe we ever will, and what stupidity to believe that certainty and logic are the only ways to enlightenment.
I hope you can feel me jumping from subject to subject; that’s how I live and work. One moment I meet an extraordinary person who can sweep me off my feet and change how I think and feel; the next the taste of a cheese I never knew existed;
next a brilliant and rarely screened French film from the past or a new one, like Amour (illuminating dementia); next the wit of an illustration by Quentin Blake or a cartoon by that genius of humour, the New Yorker’s Charley Barsotti, that touches the essence of human nature; a timeless painting by Matisse; the look in a person’s eye, a poem by Charles Bukowski or a fruit or flower that I never knew; next an extraordinarily beautiful and scary insect moving unperceptively on my bathroom wall, and finally, for now, an astonishing smile or a life changing quote, like this one, by Lao Tse.
“When I let go of what I am, I become what I might be.”
Sometime a distraction can simply be noticing a trivial and irritating moment of incompetence at an airport; a moment of extraordinary kindness; the courage of a human being living with extreme pain or disability; someone dying peacefully; the birth of a new grandson. I seem to encounter thousands of daily glimpses of beauty or horror or simply the calm of nothing much.
All of these moments flex muscles of curiosity and appreciation without which we risk living the truth of Shakespeare’s:
“Tomorrow, and tomorrow, and tomorrow, creeps in this petty pace from day to day to the last syllable of recorded time, and all our yesterdays have lighted fools the way to dusty death. Out, out, brief candle! Life’s but a walking shadow, a poor player that struts and frets his hour upon the stage and then is heard no more. It is a tale told by an idiot, full of sound and fury, signifying nothing.”
Living imaginatively, generously and creatively is the only way to transcend Shakespeare’s vivid and appalling observation. Letting in daily moments of inspiration is as important as breathing.
One such moment was hearing the phrase “intense astronomy”. I came across this on television. NASA had spent two billion dollars on converting a Boeing 747 into an observatory, flying at 40,000 feet and using an entirely new concept of what a telescope is to see further into our universe than was ever thinkable before. Magnificent!
And now another distraction, or two, just to encourage you to let your mind fly. Consider the Boeing 747. These iconic aircraft are now rebuilt from the rivets in the outer skin of their immense and graceful bodies to the smallest detail of their cabins. This happens from time to time to give these beautiful creatures a new lease of life (One day it may happen for us too.)
Watching that process being completed by British Airways engineers in Cardiff is an inspiration. It’s intense work with many skilled people involved. It takes six weeks, and when it’s complete, there’s much pride and a modest celebration as a BA flight crew come to collect it.
While I’m thinking of the 747 I’m often embarrassed by the frantic attempts to paint trivial brand graphics onto these wonderful examples of engineering sculpture. The 747 is a work of art as well as a landmark in aviation, industrial design and engineering. Only Pan Am treated this aircraft with respect. Since then the quality of graphics applied to the 747 and many other beautiful planes has been crass, stunningly disrespectful and insensitive.
The designers responsible, with the possible exception of those who designed the simple Quantas, Air France and Lufthansa liveries, should be sent to stand in disgrace in the corner too.
More distractions. Last week I watched a nature programme on television. It was so extraordinarily beautiful that I could hardly breathe. It featured the miraculous shapes and agility of Japanese cranes and how they can outwit the eagles who want to eat them for dinner. Their flying dance of black and white brings Escher to mind, but with far more grace and life. Another time, a beautiful and lithe female tiger with her cubs vying with a patient vulture for the fresh meat of an antelope; all the colours and ballet of that incongruous dance. Squadrons of green budgerigars out-flying the vultures that try to catch them for a snack. The flights of seagulls and swifts, the seagulls almost effortless and the swifts faster and more deft than our most sophisticated fighter aircraft; the sure grace of a domestic cat, or simply watching and appreciating the flow of thousands of city people; seeing how they dress; wondering what they’re doing; how their lives are. All these and the satisfaction of creating instant, momentary friendships day by day, make me the designer that I’m still constantly becoming.
I hope with this long letter to encourage you to re-connect with your childlike awe and your overwhelming early noticing and wonder at life; to peel away the adult layers of logic and misplaced responsibility; let your innate creativity take you by the hand and lead you, like a guide dog, onto the tightrope from which you can create your magic, and bring your clients more than they’ve asked from you.
Remember, as I’ve explained before, a brief is only someone’s best shot at what they want. No one really only wants what they think they want, they want what they couldn’t imagine and that’s why they’re asking you.
So don’t just stroll along in a familiar way with a series of plausible alternative choices to show your clients to diminish the risk of rejection; lead, as Bill Bernbach did, with a single recommendation. Bring them what you believe is right for them and fly at risk with them into authentic self-expression, or say goodbye.
I know this letter is jumpy. I’m jumpy too. My appreciation, curiosity and imagination jump like a grasshopper, without knowing where they will arrive and what will be next. Will it be a new relationship, a new taste, a new colour, a new experience, a new vision and a genuine creation?
I'll finish this letter with a quote from a man I’d never heard of. Samuel Ullman, an American businessman and poet, 1840–1924. It’s about all of us.
“ Youth is not a time of life, it is a state of mind. It is not a matter of red cheeks, red lips and supple knees. It is a temper of the will; a quality of the imagination; a vigor of the emotions; it is a freshness of the deep springs of life. Youth means a temperamental predominance of courage over timidity, of the appetite for adventure over a life of ease. This often exists in a man of fifty, more than in a boy of twenty. Nobody grows old by merely living a number of years; people grow old by deserting their ideals. Years may wrinkle the skin, but to give up enthusiasm wrinkles the soul. Worry, doubt, self-distrust, fear and despair, these are the long, long years that bow the head and turn the growing spirit back to dust. Whether seventy or sixteen, there is in every being’s heart a love of wonder; the sweet amazement at the stars and star like things and thoughts; the undaunted challenge of events, the unfailing childlike appetite for what comes next, and the joy in the game of life. You are as young as your faith, as old as your doubt; as young as your self-confidence, as old as your fear; as young as your hope, as old as your despair. In the central place of your heart there is a wireless station. So long as it receives messages of beauty, hope, cheer, grandeur, courage, and power from the earth, from men and from the Infinite, so long are you young. When the wires are all down and the central places of your heart are covered with the snows of pessimism and the ice of cynicism, then are you grown old, indeed!”
"I hope I never lose my sense of wonder."
Many thanks for this to one of my best and dearest friends Charles Barsotti, and to The New Yorker
With my best wishes for your success, your sense of wonder, your creativity, your usefulness to our world and your joy.