The e-newsletters we made for Penguin Classics got a mention in a recent newsletter from The Better Email [✉ ∞]. Made me smile. Here are a few newsletters from the Penguin Random House team that I particularly like.
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‘There are no beginners’ classes in life. What is required of you is always the hardest thing, right from the start.’
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Tuesday 27 September 2016, 7–7.30pm
Bold Tendencies, Car park floors 7-10, 95A Rye Ln, London SE15 4TG
Tickets £8 on door
An opera by Sarah Hardie. Music composed collaboratively with Jack Sheen, choreography by Eleesha Drennan. Performance by Sarah Hardie, Angela Hardie, and Musarc. I’ve really enjoyed working on this and am looking forward to the performance.
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Lots of Eames notes recently. SB recommended this video to me, I love it. Also, found the Guardian review of the Eames exhibition kind of interesting. It does seem contradictory that they managed to be so unflaggingly optimistic in their lives and output in the face of some pretty harsh concurrent events.
Their relaxed, workwear aesthetic was an integral part of a carefully considered image, one that complemented the practice of the Eames Office, its philosophy and the Eameses’ own resolute work ethic.
Moloney, Alison. “The Dress of Charles and Ray Eames.” The World of Charles and Ray Eames. Ed. Catherine Ince with Lotte Johnson. London: Thames & Hudson Ltd in association with Barbican Art Gallery, 2015. 149.
Ray’s aesthetic was feminine – unsurprisingly so, given the era in which she was working – but it is the habitual wearing of the same style that is most telling, and which, instead, reveals her to be uncompromising and non-conformist.
Moloney. The World of Charles and Ray Eames. 149.
His shirts were well worn, as evidenced by numerous repairs, and reflected the Eames’ make-do-and-mend mentality, which extended to all aspects of their lives, from their routinely darned pillowcases to their wedding-gift toaster, which was said to be constantly repaired.
Moloney. The World of Charles and Ray Eames. 151.
Q: How would you define yourself with respect to a decorator? an interior architect? a stylist?
A: I wouldn’t.
One of 29 questions posed by Madame L’Amic and answered by Charles and Ray Eames. The resulting Design Q & A formed the conceptual basis of the exhibition Qu’est ce que le design? (What is Design?) at the Louvre. I believe the exhibition was held in 1969, though I have seen 1972 listed elsewhere.
The transcript and video are available online. For best results however, see it at the excellent The World of Charles and Ray Eames exhibition designed by 6a architects and John Morgan studio. It’s on at the Barbican until 14 February 2016.
The other evening, a friend introduced me to Maria Blaisse’s work as well as the lovely book The Emergence of Form published by nai010. The dedication evident in her output is incredible, and her canal-side studio in Amsterdam sounds pretty great. Wish I could find one of the images from the book online, it’s a black and white photo possibly taken in the 70s of her working on a woven piece with an enormous knot in the middle that’s easily twice her height. Will just have to buy the book (like I need an excuse).
Sidenote, Augenweide (source for the image) is a very enjoyable browse, glad to have come across it.
Bonkers, and awesome.
I asked SB about people/studios that push the offset printing process when we were discussing a potential litho print last week, and he mentioned Berlin-based collective Maximage. The 2013 interview in the Walker design/art blog (linked above) sheds light on their interest in intervention.
Surfing w/ coffee 2. Order of exploration:
Google search “web worker” paper.js jerky (trying to sort out animation+ajax issues) Paper.js issue #634 “Allow using paperjs without canvas” Paper.js issue #561 “Add Font and Glyph types from plumin.js” (↓B) Plumin.js (↓C) Louis-Rémi Babé @louis_remi Surge, static web publishing
See previous surf sesh.