From the Conductor's Office of Charlie Irons

Maybe it's that it's a time in Graphic Design that I can actually wrap my head around because it's so close, in history. Or, perhaps, it's more that I really like and relate to the imagery. Or, more to it, that it's in line with what I think of when I think of “Graphic Design”. Maybe it's a little of all these things.

Whatever it is, all I do know is – I many not now (Graphic) arts, but I know what I like. And what do I like?

Revivalism.

And, more specifically, some of the more nostalgic throw backs to the early and mid twentieth century. This trend has been enjoying a real mainstay in American commercial culture and, I feel, is pretty much here to stay. And that's okay with me.

And, apparently, with many others, too. When Charles S. Anderson left the Duffy Design Group in 1989 to found his own firm – Charles S. Anderson Design, Co. - he had set out to give his images “a tangible and inherit artistic value.” In the wake of the Post Modernist movement, Charles saw a new age of design; “One not based on sterile minimalism... but is rich cultural vocabulary and personal experience.” Anderson, himself, had been inspired growing up in Boone, Iowa and the old 40's style graphics that littered the town.

Anderson's own vision of this design ethic can be easily seen in his work. Pulling from the over sized graphic of comics (Oh, come on, you know I'd find a way to get comics in here, right?) and the old throw back look of pulp, to the graphics of post industrialism. The firm looks to merge the visceral with the visual; working to create an identity that's “anything but boring.”

The thing about this revivalism is how it can draw off the cultural mythos to synthesize a tangible experience for its audience; whether or not that audience has any real experience with the particular period being aped by the design. From the “retro Mickey” designs of the new Disney merchandise line, to mason jars full of spaghetti sauce, there's a connection we, as the viewer – and shopper – draw from these images.

Perhaps it's because there's so much of our society's history in these textural properties. Coming from the turn of the 20^th century design was looking into the blending of the ornate and the functional; becoming both characteristic and still functional. It was the age of the durable, long lasting. Yet, at the same time, had the flourishes of style that made it more personable.

These designs, also, harken back to a prosperous, feel good time in American mythology. The second big boom in American, the post Word War 2 era, saw the invention and use of may stylized forms of design that have, much like other things from their time, been built to last. Although, in today's society, these images can carry new iconic representation.

From country images, to swing era design, and the modern streamlining of trains (If you seriously didn't think I was gonna sneak a train reference in, too, you haven't been paying attention.), there's a comfortable feel behind revivalism, or “retro”, as we often call it. A touchstone to the past, when things were better, had more class, and were built to last. The things we'd like to see in our culture, products, and communications, today.

Maybe it's best summed up by a quote that's used on the Andserson website; "The further backward you can look, the further forward you are likely to see." - Churchill

The more we go forawrd, the more we're likely to look back for comfort and identity. And, really, is that such a bad thing?