Every January I look around all of the local shops in Seattle for the perfect everyday carry monthly planner. Every year I am frustrated and eventually disappointed that no one seems to produce an option with the following features:
- Small everyday carry format
- High quality paper w/ grid or dot grid – where pens wont bleed though
- Section for quarterly goals planning
- Section for quarterly monthly planning
- Standard monthly calendar
- Minimal clean aesthetic
- Good use of horizontal format
Because I am a designer by trade, aesthetics, integration with my existing everyday tools, and quality are really important to me.
To this end I have taken matters literally into my own hands. Using a .05 Uni Jetstream in red and black, a straight edge, and a red Field Notes notebook I have drawn exactly the feature set above by hand.
I am quite pleased with the results, the utility, the feature set, and the fact that I can carry this with my other Field Notes make this a clear win for me.
Finally I decided at the encouragement of a college of mine to snap a few quick photos, write this post, and attempt to lobby the fine folks at Field Notes to consider actually producing such a notebook.
If there is demand and interest out there speak up! I would totally volunteer my design services pro-bono simply for the opportunity to work with such awesome people, products, and to make this concept a real product.
Perhaps if you have a similar need every January why not pile on with comments, share this, and lets get some momentum behind this together!
Some photos illustrating the process employed in putting this show together. There are also some shots from the studio, the gallery, and zeitgeist which clearly elucidate the scale of this work.
’SkinDeep,’ a series of portraits from 2000 – 2001.
A comparison of personal surfaces and internal structures. The completeness of form paired with its physical plot or delineation. This body of work has come to light through internal, development, study, research and vision to finally assemble into its complete form. In the beginning, creating this set of work, it was specifically this completeness that I wanted to convey, the meaning and the form together, but delivered separately.
The first half of the work utilizes flat two-dimensional shapes and vibrant solid colors to emphasize negative and positive space. This technique is employed to maintain interest in the work as an abstraction up-close and as a whole at a distance. It also serves to communicate the idea of these individual elements combining to create a unified whole.
The second half is constructed of partner pieces built upon a ‘Proposed Land Use Action Signage’ using mixed media, and enamel. The departure in media from the first half of the work emphasizes depth, scale, and is looking for meaning beneath the surface. The use of line is utilized to plot the landscape for an internal message communicated by comparing the titles of each counterpart work. Thus tying in the metaphor, “the idea of the face as a map.”
A selection of previously unreleased hand rendered pen and ink studies which informed the SpeedWork series.
It is the purpose of SpeedWork to expose the impermanent extreme metabolic rate and desperate existence of the hummingbird, as a powerful symbol in today’s modern world.
Recognizing that we as society are increasingly more reliant on technology, pharmaceuticals, and convenience, to “be more efficient,” or “accomplish more with less.”
- Beats it wings 80 times per second
- Flies at speeds up to 60mph
- Proportionally has the largest heart of any animal
- Has the second fastest heart rate of any animal 500 bmp (at rest) and 1,260 bmp (when fully active)
In an attempt to embody this delicate balance between fragility and kinetics, I developed these non-archival paintings quickly on oversize acid-free paper with oil paint.
While non-archival as this methodology may be, the paintings will easily last a lifetime or more if cared for properly and in keeping with my artist statement, “the materials with which the work is created must be subservient to it’s overall meaning and purpose.”
Knitwear was a series of exceptionally flat acrylic paintings inspired by early sixties styling found in knitting magazines I picked up while thrifting in Idaho. The show was hosted in 2001 by the Zeitgeist Café.
The intent of the work was to deeply explore color and the language of flat minimalist design within painting.