Artist, graphic designer, & tech consultant in Nelson County, VA
Category:Illustration
These are posts featuring illustrations designed by John LeMasney. In general, unless otherwise noted, they are licensed CC-Attribution, cc-by lemasney, and should contain a citation and linkback.
54 of 365 That thing gives me the creeps by John LeMasney via lemasney.com
54 of 365 That thing gives me the creeps by John LeMasney via lemasney.com
I was recently on a chat with a friend, and she explained that she really loved this breed of dog that has abundant wrinkles, very short legs, and clipped ears. The name of the breed escapes me, but my reaction was “that thing gives me the creeps”. I paused for a moment and thought about how odd that phrase is, which is usually a trigger for me to illustrate it. I pictured a 1970’s style treatment, dark, and playful.
In Inkscape, I placed the text, and applied the font Ballpark, a staple of my illustrations. I skewed the lines up and to the right. I duplicated and applied an outset to the duplicate, twice. Each time moving the outset shape backwards. I imported a lovely foggy image of red trees in summer morning, and used those colors for the palette.
I picture it being used in social media threads in which one person shares an image or idea that is full of creepiness, and someone shares my illustration as a response.
49 of 365 - updated library logo 2 by John LeMasney via lemasney.com
49 of 365 – updated library logo 2 by John LeMasney via lemasney.com
So, at the request of Steve Garwood, a famous and resourceful New Jersey Librarian, I decided to rework the eighties-era Library Logo. I felt the same way as Steve: The Library logo below is something I align with, philosophically, in that when I see it, I love it. I’d like to get a tattoo of it. I think of it as an extension of who I am. At the same time, I wish it was more contemporary in nature, reflecting some of the curvature and relaxation of iconography of the 21st century. In order to keep the general look and feel of the logo, I used the original logo as a starting point, and simply moved elements to shape the new logo. The color is the same. The major difference between the two is a difference I see every time I walk into a library today: a more prominent presence of laptops. When I think about the key ways that libraries have changed, and how they continue to change, I think about the way that the libraries I love most are less about books and more about learning, community, service and sharing. Very often, technology is employed to that end in libraries. Here is the original logo for comparison, after an insightful brief history.
“The image debuted in its official capacity in the 1982 ALA publication, A Sign System for Libraries, by DeVore and Mary S. Mallery, and was the cover story of the September 1982 issue of ALA’s member magazine, American Libraries. DeVore’s original design scheme for the image (similar to the image shown below) was an opaque white silhouette against a blue (specifically, PMS #285 blue) background.” ~ National Library Symbol History & Implications | Walking Paper – http://goo.gl/d6mQiL
Library Symbol (1982) DeVore and Mallery
I wanted to mention and thank both Steve Garwood, who inspired the rework, and Jane Ferrick, who gave good insights about my figure’s original posture, and the specific appearance of the laptop, both improved. To be honest, before Jane’s suggestions, my figure was practically laying down and using an ultrathin laptop, which appeared as other things. There is also an interesting echo in the laptop of the book in the original symbol.
46 of 365 - factor of safety design principle (belt and suspenders) by John LeMasney via lemasney.com
46 of 365 – factor of safety design principle (belt and suspenders) by John LeMasney via lemasney.com
Factor of safety is about preparing for unknown flaws in a design, even though the issue may never arise. In the interest of preventing system failure, a designer can make more safety elements than are necessary. In general, it is the act of adding more elements than are strictly necessary in a design to prepare for situations that may or may not happen. In graphic design, you might add restatements of an idea to make more sure of the delivery of the message. In structural design, you might add more beams to the underlying structure. In urban design, more roads and parking, and so on.
I decided to illustrate the most common expression of the factor of safety that I can think of: “belt and suspenders”. In other words, you might say “belt and suspenders” in response to someone bringing a USB key with their materials to a presentation even though the materials available online. In the event that Internet access is down (e.g. the belt breaks) you’d still be able to present via USB (e.g. suspenders).
45 of 365 - minimalism design principle by John LeMasney via lemasney.com
45 of 365 – minimalism design principle by John LeMasney via lemasney.com
One of the most lovely things that I have enjoyed as a part of my design and consulting practice is the ability to stay fairly stress free in the effort. Because of the flexibility afforded by consulting, I am able to step back, look at the entire spectrum of the work, and let it flow. There is a certain kind of joy in doing work that you are good at, enjoy doing, and are compensated well for. I have been lucky enough to have a few jobs like this, mostly longer term positions, and the reasons that I left had more to do with leadership, staff, or situational variables. Never the work. The work is joy. The work is the light of the day. The work is the thing.
In this illustration of the idea, I wanted to focus on a minimalism approach, one in which there is just what is called for and nothing else. I illustrated a quote from the Tao te Ching (the book of the way): Act without doing; Work without effort. It speaks to me as an ideal of work: work that is not work at all.
Ampersand Greater Than Font Study by John LeMasney via lemasney.com
Today, I decided to use Inkscape to play with type. When you type less than three (<3), you are expressing an emoticon for love, symbolized by a heart. It’s a straightforward, easy-to-use symbol. Two close friends or sweethearts might use it in SMS to express a little love.
Ampersand Greater Than (&>)
Melissa Brisbin and I have used an alternative to less than three to express not only that we are good friends, but that we exchange and share value in technology, libraries, and related interests. Ampersand greater than (&>) resembles a heart too, but indicates a togetherness, a bond. When we type it to each other, it’s a little reminder of our history. In honor of her birthday yesterday, I decided to work on the ampersand greater than as a typography muse.
I started by going through my font catalog and pulling out all the fonts that had interesting ampersand and greater than symbols.
40 of 365: Ampersand Greater Than Font Study by John LeMasney via lemasney.com
Then I began pulling out the best combinations, angling the symbols, pulling them together into a single flowing shape.
40 of 365: Ampersand Greater Than Font Study by John LeMasney via lemasney.com
Finally, I went back in and tweaked the finest points of the combinations. This was my result: nearly the final set.
40 of 365: Ampersand Greater Than Font Study by John LeMasney via lemasney.com
And today, I decided to add some color, along with final tweaks to the pieces.
Ampersand Greater Than Font Study by John LeMasney via lemasney.com
39 of 365 – face-ism ratio design principle by John LeMasney via lemasney.com
Consider face-ism ratio when presenting a photo of a human. The theory says that a face that takes up a larger portion of the photo emphasizes the intelligence and persona of the person in the photo, where a photo that shows less of the face, and more of the body, emphasizes the bodily and aesthetic features of the person.
In this illustration, I decided to show myself with a higher and lower face-ism ratio.