Waiting Game

Oona was due to be born on November 10th. She didn’t settle on an exit strategy until the evening of November 17th. This left an idle waiting window.

In order to quell an already innate tendency to fidget in anticipation of a great big epic thing, I grabbed a sharp object and a stack of magazines and spent my personal limbo collaging. Some dudes lift weights. Anyway, these weren’t baby-centric insofar as I meant for any of these to reveal any subconscious feelings about impending fatherhood. I just wanted an active, physical distraction away from a computer that I could complete quickly without overthinking them or, conversely, reminding me that a very small person was going to manifest him/herself in our lives sometime either in the next few hours or the next few days. When I say “this mostly worked”, I mean that when I have an X-Acto in my hand and my wrist is sturdy and turning slowly, it’s only slightly easier to quiet the enormity of knowing that I’m having a kid than it would have been with a more passive activity. But the kid still trumped this. Substantially.

Now that she’s here, I look at these things the way someone looks back at something that they drew the night before when they were stoned.

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Here’s Oona.

Oona Jay Dorfman crossed over to the other side of the wall on Monday evening, November 17th in NYC around 8:02 PM.

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The expletives required to properly accent the tenor of Jill’s performance in delivering Oona have not been invented yet. They will occur to one of us in the middle of the night sometime in the next 6 years. At the moment words are few as the three of us have been opting instead to spend most of our collective waking hours staring at each other in anticipation of all the fireworks headed our way once we leave the hospital tomorrow.

Good night.

Secret 7″, Record Store Day & Roxy Music

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Here was a perfect reason to work for free.

I was invited to participate in the epic Secret 7″ project this year. The organization solicits wordless art to pair with 7″ sleeves which are then auctioned off as mystery singles on Record Store Day with all of the proceeds going toward a charity chosen annually. The charity benefitting from the sales of this year’s auction will be going to War Child Syria—which is fantastic for existing and also abominable that it still needs to.

The only ground rules the contributors were issued going in was to choose one song from seven possible titles and produce an image that could allude to the track on the vinyl in question without giving it away. No band names or track titles were permitted on the sleeves. Every 7″ was auctioned off anonymously and bid upon solely by the merits of the art on the sleeve. The recipients had no idea what music they bought until they opened the package.

I was given the option of choosing between seven different songs to design for and I opted to take a crack at Roxy Music’s Virginia Plain—which, in addition to being a perfect piece of music, can also stand alongside the best of the absurdist pop greats with lyrics that manage to be inscrutable without sounding off-putting or phoned in. In that spirit, for the imagery I wantonly and aggressively ripped off the stylings of Tadanori Yokoo and Keiichi Tanaami. From an art-making perspective, it was one of the most selfish exercises I’d tried out in years and I’m only mildly ashamed to say that I loved the process of trying to wrangle my way into another artist’s skin. Such catharsis.

Here is a complete list of this year’s contributors and their monster gallery of everything they commissioned this year. It’s worth digging through if you have the time as there’s some legitimate invention on display (which is more than I can say for my thievery).

Books, Talking, Agony & Occasional Fun

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I’ll be speaking at the Type Director’s Club on Thursday, 3/13 as part of their annual Book Night with cover design heavyweights Megan Wilson and Jim Tierney. At which time I will likely be wondering aloud why something as difficult and demanding and heartbreaking as designing book covers remains fun and somehow inspiring. As far as I know, this is not intended as a roast. Though I can’t be surprised if it ends up that way. Details and registration are here.

I’ll be sharing horror stories, victories and how art direction and illustration inform my approach to designing covers and vice versa. Among them, some background behind a few recent projects which are coming out soon if not already:

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For Soft Skull Press.
A collection of black comedic short stories about death. Or at least they’re told to ease the creeping certainty of death’s persistent advance. Any laughter is commensurate with your personal abilities of disassociation.

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For Pantheon. Art direction: Peter Mendelsund.
Alain de Botton argues that the artless monotony of news delivery misses the chance to engage people the way true storytelling can. Working at a newspaper myself, I have complicated feelings about this.

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For Viking. Art direction: Paul Buckley. Photo: Godlis.
If I ever score another book project as close to my heart as this it will likely involve bribery or something worse. Alex Chilton’s & Big Star’s music has been lining the inner wall of my ribcage ever since The Replacements tipped me off to them in high school. As a matter of course I try to keep personal attachments off the table when designing, but it gives me no secret selfish happiness to have my handwriting on the jacket for a book about one of the guys who’s music helped get me through high school, college, my post-college 20′s, half of my post-college 30′s and last night.

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For Verso. Art direction: Andy Pressman
A new account of the oil industry’s backdoor movers & shakers and how they are, in their singular way, vampires of the land raping the soil for what remaining natural resources we have—and why those businessmen and this business have made us all dependent and complicit. A comedy.

See you next week.

Inequality and Sex

The title of this post is only just misleading enough to leave it be and go with it. I do have images to show concerning inequality and sex, but not together.

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Art direction: Nicholas Blechman

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The picture above was done for the Book Review a few weeks back for a review that David Leonhardt wrote about Angus Deaton’s new book, The Great Escape, which by Leonhardt’s account is an optimistic-while-sober account of how the inequality gap has narrowed over centuries and how that history should be mined for reconciling inequality’s present condition. This illustration found life on account of having the dumbest of dumb luck to discover separate engravings well over a century old of one very rich man and one very poor man sitting in my overstuffed files at home. Like the header promised: sexy, right?

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This one—about whether or not sex can really, truly be counted as exercise—was done for the magazine in early December. Whether omitted for space constraints or for a good, old-fashioned benefit of the doubt, the writer gratefully declined to entertain any remote notion that just lying there during such a congress merited any such measurement. Personal trainers and one night stands all over the world can rejoice in a glad-hearted, communal high five.

Art direction: Jason Sfetko

The Tyranny of Strategy

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Here is an illustration about over-dependence on strategic planning for the December issue of the Harvard Business Review. The text opens with an argument that Satan, while rhetorically gifted, wasn’t much of a planner. I don’t know how anyone illustrating anything which contains even a passing mention of Satan is supposed to gravitate toward anything or anyone else.

Art direction: Karen Player

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