The Colleague Who Spikes the Ball

In my humble design career, I’ve served in rather obscure firms that were void of fanfare. In these jobs I’ve had the privilege of working and serving with some supremely talented individuals. Generally speaking these are normal people who set out to do great work without the need to seek attention or notoriety for doing so, and in retrospect have been mentors to me.

One such person is a current colleague and friend, Dan. Dan shared with me today an incredible insight regarding experiences he's had working with people who seek attention and those who do not. He shared with me how Hall of Fame NFL football player Walter "Sweetness" Payton, after scoring a touchdown, would hand off the ball to a lineman so they could spike it in the end zone—a place he found himself quite often. I had never really thought about that simple act, but Dan explained why Walter did that.

Dan said that in part, Walter Payton never wanted people to get the impression it was his FIRST touchdown.

He fully expected to score a touchdown each and every time he touched the ball. In fact, that was his job—a job he did better than anyone who ever played the game, so he never felt the need for attention in this fashion. Secondly, he enjoyed sharing the celebration with those who helped him get there.

I'm sure you’ve all experienced working with a colleague who finds the need to spike the ball. You can spot these people from a mile away, though these people don't often realize it for themselves. But in Dan I am honored to be working with someone who selflessly hands the ball to others, so they can share in the team's successes.

I thank Dan for being a mentor. To me and to others. He does so by what he does, rather than what he says (or doesn't say). His actions speak louder than any spike ever could. And for that, and specifically for our in-house design team, I salute him.

Neocon, Alvin Lustig, and a Design Realization

Neocon is just another furniture show to many. But to me, it's the Superbowl of design. Something I look forward to for months ahead of time. It's an experience that for me is way more valuable than any other design show in terms of charging my creative batteries. And for those who know me, being creative is not generally one of my deficit areas. But something's different about Neocon.

It inspires in a totally unique way. I see colors. Shapes. Materials. Applications. Human enthusiasm and possibility. Execution and good old fashion trade sales. Real ideas being pitched and sold for real money. Not just great ideas, but great ideas with legs. Ideas that are going places. Ideas with schedules and agendas. You get the idea. Rubber meets the road, if you will.

Anyway, in my weekly design group meeting today I spoke to the team about my enthusiasm and perspective regarding the show. I recently received approval from my supervisor to take the whole commercial design team to Neocon so they too can experience this magnificent event. Shortly after discussing this but in the same meeting designer Alvin Lustig came up, as I referenced having posted about him in an article in BarryBlog just the day before. Out of both discussions came a vivid realization regarding the value of design.

As I thought of going to Neocon, I pictured myself back in time and walking the show with Alvin. As we walked together, his presence was felt everywhere. Why? Well, Alvin designed the timeless furniture in the Knoll booth– a tradeshow booth he himself also designed. Continuing further through the Merchandise Mart we notice the catalogs, advertising and collateral pieces being handed out at the show, that as it turns out, he too conceptualized, designed and produced. As mid day approaches and we begin to consider lunch, we're guided to the food court area by Lustig's comprehensive signage system. Pretty much anywhere you look, you see his design influence. One person with such an over arching perspective and skillset, in addition to the ability to think big.

One other important factor in Lustig's sucess was the fact that he was often hired by clients who trusted him, and by trust I mean the fairly rare kind of trust where the client has the confidence to step back, and to step away from preconception. A client who has a vision for something bigger than themselves. A vision so big not any designer could accomplish it. This is part of why he was so successful, aside for a tremendous intellect, drive and talent. If clients really want their result to have, well, results, they will get out of the way of strategic thinkers and innovators and let them do what they are gifted to do. Any designer can conduct themselves in a karaoke type of service to the end product, but only when a client trusts a designer can true innovation and break through work actually take shape with true voice.

I literally had a dream about Neocon the other night. This from a person who barely ever dreams. But it's people like Alvin Lustig who lead the way with projects that not only get results, but inspire. To dream. To build. To take the bar a notch higher. And who in the end serve the entire process best through genuine creativity, guts, big picture thinking and ultimately value to a companies' bottom line.

See ya' at Neocon. June 12. I can't wait.

Born Modern: Master Designer Alvin Lustig

Considering his amazing but short career, Alvin Lustig has indeed earned his master status in the world of design, and his design legacy lives on. He was a book designer. Graphic designer. Interior designer. Furniture designer. Retail store designer. Exhibition designer. Signage designer. Textile designer. Teacher. Spend some time at alvinlustig.org and learn from a true master. You can find a brilliant article by Steven Heller about Lustig called "Born Modern" here, or at the AIGA Medalist site. The AIGA medalist is given to "the most distinguished in the field, awarded to individuals in recognition of their exceptional achievements, services or other contributions to the field of graphic design and visual communication." When you visit either Lustig's site or the Medalist site, you'll see why he is considered a master. His work for Knoll furniture is what caught my attention many years ago, but equally as amazing is this signage system for Northland Shopping Mall in Detroit..

By the time he died at the age of forty in 1955, he had already introduced principles of Modern art to graphic design that have had a long-term influence on contemporary practice. He was in the vanguard of a relatively small group who fervently, indeed religiously, believed in the curative power of good design when applied to all aspects of American life.
– “Born Modern” by Steven Heller

( via That's Right)

John Piper: A Loving Tribute to Dad

Hello, My Father Just Died

AIGA: Artist Video Series (HillmanCurtis)

Reading about fellow designers and seeing their work can be inspiring. Hillman Curtis, by way of the AIGA main website, for which I'm a member, allows us to experience leading designers through sound and motion. The Artist Video Series has been available for a long time, but only recently was able to find time to watch these great videos. You might also enjoy exploring the rest of the HillmanCurtis site while you're there.

If you want to save time and follow my recommendations, my favorite is this. Also try Sagmeister, Carson, Glaser.

( via AIGA Inspiration )

Mentor Relationships Come in All Forms

“He was an extremely important mentor for me. He is well-known for being tough and hot-headed, but also incredibly smart. He showed me a set of operating principles, how to articulate an idea, an impatience with theory and a passion for practical experience. I didn’t learn diplomacy from him, but he taught me the value of telling people the truth and letting them sort things out for themselves.”

Lowell Williams on his legendary mentor Saul Bass